- The Oxford Handbook of Computer Music
- Introduction: The Many Futures of Computer Music
- A Historical View of Computer Music Technology
- Early Hardware and Early Ideas in Computer Music: Their Development and Their Current Forms
- Sound Synthesis Using Computers
- Computational Approaches to Composition of Notated Instrumental Music: Xenakis and the Other Pioneers
- Envisaging Improvisation in Future Computer Music
- Computer Music: Some Reflections
- Some Notes on My Electronic Improvisation Practice
- Combining the Acoustic and the Digital: Music for Instruments and Computers or Prerecorded Sound
- Dancing the Music: Interactive Dance and Music
- Gesture and Morphology in Laptop Music Performance
- Sensor-Based Musical Instruments and Interactive Music
- Spatialization and Computer Music
- The Voice in Computer Music and Its Relationship to Place, Identity, and Community
- Algorithmic Synesthesia
- An Introduction to Data Sonification
- Generative Algorithms for Making Music: Emergence, Evolution, and Ecosystems
- Computational Modeling of Music Cognition and Musical Creativity
- Soundspotting: A New Kind of Process?
- Interactivity and Improvisation
- From Outside the Window: Electronic Sound Performance
- Empirical Studies of Computer Sound
- Toward the Gender Ideal
- Sound-Based Music 4 All
- Framing Learning Perspectives in Computer Music Education
- Appendix: A Chronology of Computer Music and Related Events
Abstract and Keywords
This article presents sound-based music, that is, music in which sounds, not notes, form the basic unit. The separation of art music and popular music is clearly becoming less relevant as the distinction becomes less audible in a great number of sound-based works and the means of production converge, opening up this type of music to a much larger community than the one it has known in the past. This article first focuses on contemporary art music. Its author believes the wider repertoire, that is, that including vocal and instrumental contemporary music, is important to discuss here as what is commonly known as electroacoustic music and computer music both inherited great challenges from contemporary music's demise. This article then focuses on digital music-making, followed more specifically by sound-based music.
Leigh Landy, De Montfort University
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