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210128s2021 nyua b 001 0 eng d |
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|a YDX
|b eng
|e rda
|c YDX
|d BDX
|d UKMGB
|d OCLCO
|d YDX
|d OCLCO
|d OCLCF
|d PAU
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019 |
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|a 1233163375
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|a 0197524028
|q paperback
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|a 9780197524022
|q paperback
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|a 019752401X
|q hardcover
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|a 9780197524015
|q hardcover
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035 |
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|a (OCoLC)1233163361
|z (OCoLC)1233163375
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050 |
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4 |
|a ML74
|b .L39 2021
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082 |
0 |
4 |
|a 780.285
|2 23
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1 |
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|a Lazzarini, Victor,
|d 1969-
|e author.
|0 http://id.loc.gov/authorities/names/nr96035093
|1 http://viaf.org/viaf/41740862
|
245 |
1 |
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|a Spectral music design:
|b a computational approach /
|c Victor Lazzarini.
|
264 |
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1 |
|a New York, NY :
|b Oxford University Press,
|c [2021]
|
300 |
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|a xix, 488 pages :
|b illustrations ;
|c 29 cm
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336 |
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|a text
|2 rdacontent
|0 http://id.loc.gov/vocabulary/contentTypes/txt
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|a unmediated
|2 rdamedia
|0 http://id.loc.gov/vocabulary/mediaTypes/n
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|a volume
|2 rdacarrier
|0 http://id.loc.gov/vocabulary/carriers/nc
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|a Includes bibliographical references and index.
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505 |
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|a Machine generated contents note:
|g pt. I
|t BACKGROUND --
|g 1.
|t What is the Spectrum? --
|g 1.1.
|t Functions and Signals --
|g 1.1.1.
|t Functions of Time --
|g 1.1.2.
|t Functions of Frequency --
|g 1.2.
|t Fundamental Concepts of Spectrum --
|g 1.2.1.
|t Periodicity and Pitch --
|g 1.2.2.
|t Distributed Spectra --
|g 1.2.3.
|t Dynamic Spectra --
|g 1.2.4.
|t The Uncertainty Principle --
|g 1.3.
|t Psychoacoustic Aspects --
|g 1.3.1.
|t The Cochlear Mechanism --
|g 1.3.2.
|t Critical Bandwidth --
|g 1.3.3.
|t Loudness Perception --
|g 1.4.
|t A Provisional Definition --
|g 2.
|t A History of the Spectrum --
|g 2.1.
|t Principles of Pitch and Scale --
|g 2.1.1.
|t The Pythagorean Scale --
|g 2.1.2.
|t Just Intonation --
|g 2.1.3.
|t Musical Instruments --
|g 2.2.
|t Classical Physics --
|g 2.2.1.
|t Frequency and Pitch --
|g 2.2.2.
|t Harmonics --
|g 2.2.3.
|t Strings and the Wave Equation --
|g 2.2.4.
|t Chladni Figures --
|g 2.2.5.
|t Fourier's Theorem --
|g 2.2.6.
|t Partials and Hearing --
|g 2.3.
|t Helmholtzian Theory --
|g 2.3.1.
|t Musical Tones and Noise --
|g 2.3.2.
|t Resonators and Other Analytical Instruments --
|g 2.3.3.
|t Theory of Spectral Hearing --
|g 2.3.4.
|t Musical Timbre --
|g 2.3.5.
|t Rayleigh's Theory of Sound --
|g 2.4.
|t Twentieth Century --
|g 2.4.1.
|t Electronic Instruments and Signal Processing --
|g 2.4.2.
|t Electronic Music --
|g 2.4.3.
|t Computer Music --
|g 3.
|t Fundamental Aspects of Audio and Music Signals --
|g 3.1.
|t The Nature of Audio Signals --
|g 3.1.1.
|t Real Signals --
|g 3.1.2.
|t Instantaneous Frequency and Phase --
|g 3.2.
|t Manipulating Analogue Audio Signals --
|g 3.2.1.
|t Non-Linear Distortion --
|g 3.2.2.
|t Noise and Signal Level --
|g 3.2.3.
|t Modulation --
|g 3.2.4.
|t DC Offset --
|g 3.3.
|t Discrete Signals --
|g 3.3.1.
|t Sampling --
|g 3.3.2.
|t The Discrete-Time Baseband --
|g 3.3.3.
|t Digital Audio --
|g pt. II
|t TECHNIQUES --
|g 4.
|t Continuous and Discrete Spectra --
|g 4.1.
|t The Fourier Series --
|g 4.1.1.
|t Even and Odd Functions --
|g 4.1.2.
|t Interpreting the Fourier Formula --
|g 4.1.3.
|t The Fourier Series of a Square Wave --
|g 4.1.4.
|t Complex Representation --
|g 4.2.
|t The Fourier Transform --
|g 4.2.1.
|t The Inverse Fourier Transform --
|g 4.2.2.
|t Amplitude and Phase Spectra --
|g 4.2.3.
|t The Spectra of Real Signals --
|g 4.2.4.
|t The Spectra of Fundamental Signals --
|g 4.3.
|t Convolution --
|g 4.3.1.
|t Discrete Convolution --
|g 4.4.
|t Sampling in Time and Frequency --
|g 4.4.1.
|t Finite-Time Signals --
|g 4.4.2.
|t Hard-Sync Waveforms --
|g 4.5.
|t Classic Waveforms --
|g 4.5.1.
|t The Sawtooth --
|g 4.5.2.
|t Triangle Wave --
|g 4.5.3.
|t Pulses --
|g 4.5.4.
|t Additive Synthesis --
|g 4.6.
|t The Fourier Spectrum --
|g 5.
|t Discrete Time, Discrete Frequency --
|g 5.1.
|t The Discrete Fourier Transform --
|g 5.1.1.
|t Programming the DFT --
|g 5.1.2.
|t Interpreting the DFT --
|g 5.1.3.
|t Analysis Windows --
|g 5.2.
|t The Fast Fourier Transform --
|g 5.2.1.
|t Radix-2 FFT --
|g 5.2.2.
|t ReaTto-Complex and Complex-to-Real Transforms --
|g 5.2.3.
|t Other Radices --
|g 5.3.
|t Discrete-Time Convolution --
|g 5.3.1.
|t Direct Convolution --
|g 5.3.2.
|t Fast Convolution --
|g 5.3.3.
|t Partitioned Convolution --
|g 5.3.4.
|t Multiple Partitions --
|g 5.3.5.
|t Spectral Design Applications --
|g 5.4.
|t Time-Varying Convolution --
|g 5.4.1.
|t Implementation --
|g 5.4.2.
|t Spectral Design Applications --
|g 5.5.
|t The Discrete Spectrum --
|g 6.
|t Time-Frequency Processing --
|g 6.1.
|t Sub-band Signals --
|g 6.1.1.
|t Designing a Bandpass Filter --
|g 6.1.2.
|t The Phase Vocoder --
|g 6.2.
|t The Short-Time Fourier Transform --
|g 6.2.1.
|t Analysis Frame Rate --
|g 6.2.2.
|t Phase Alignment --
|g 6.2.3.
|t Resynthesis --
|g 6.3.
|t Spectral Analysis-Synthesis --
|g 6.3.1.
|t Phase Difference Method --
|g 6.3.2.
|t Instantaneous Frequencies --
|g 6.3.3.
|t One-Sample Hopsize --
|g 6.3.4.
|t Sliding Transform --
|g 6.3.5.
|t Phase Integration --
|g 6.4.
|t Streaming Spectral Processing --
|g 6.4.1.
|t The Spectral Analysis -- Synthesis Class --
|g 6.4.2.
|t Spectral Signals in Csound --
|g 6.5.
|t Spectral Manipulation --
|g 6.5.1.
|t Filters --
|g 6.5.2.
|t Blurring --
|g 6.5.3.
|t Tracing --
|g 6.5.4.
|t Stenciling --
|g 6.5.5.
|t Mixing and Demixing --
|g 6.5.6.
|t Frequency Scaling and Shifting --
|g 6.5.7.
|t Spectral Envelope --
|g 6.5.8.
|t Morphing --
|g 6.5.9.
|t Spectral Delays --
|g 6.6.
|t Timescale Modifications --
|g 6.6.1.
|t Phase Locking --
|g 6.6.2.
|t Pitch and Timescale --
|g 6.6.3.
|t Csound Opcodes --
|g 6.7.
|t The Hilbert Transform --
|g 6.8.
|t The Dynamic Spectrum --
|g 7.
|t The Spectra of Filters --
|g 7.1.
|t Filters and Delays --
|g 7.1.1.
|t Pure Delays --
|g 7.1.2.
|t Inverse Comb Filter --
|g 7.2.
|t The Z-Transform --
|g 7.2.1.
|t Complex Polynomials --
|g 7.2.2.
|t Zeros --
|g 7.2.3.
|t The Z-Transform and the DFT --
|g 7.3.
|t Zeros on the Complex Plane --
|g 7.3.1.
|t First-Order Filters --
|g 7.3.2.
|t Second-Order Filters --
|g 7.3.3.
|t Minimum Phase --
|g 7.3.4.
|t Linear Phase --
|g 7.4.
|t Filter Design --
|g 7.4.1.
|t Time-Domain Method --
|g 7.4.2.
|t Frequency-Domain Method --
|g 7.4.3.
|t Design Example --
|g 7.5.
|t Feedback --
|g 7.5.1.
|t Poles --
|g 7.5.2.
|t Resonators --
|g 7.5.3.
|t Stability --
|g 7.5.4.
|t Phase Response --
|g 7.6.
|t Recursive Filter Design --
|g 7.6.1.
|t Parallel and Series Connections --
|g 7.6.2.
|t Modeling Physical Systems --
|g 7.6.3.
|t String Resonators --
|g 7.6.4.
|t Allpass Filters --
|g 7.6.5.
|t The Channel Vocoder --
|g 7.7.
|t Time-Varying Filters --
|g 7.7.1.
|t Allpass Phasers --
|g 7.7.2.
|t Audio-Rate Coefficient Modulation --
|g 7.7.3.
|t Delay Time Modulation --
|g 7.8.
|t A Generalized Concept of Spectrum --
|g 8.
|t Non-Linear Synthesis of Spectra --
|g 8.1.
|t Closed-Form Synthesis Formulae --
|g 8.1.1.
|t Generalized Summation Methods --
|g 8.2.
|t Frequency and Phase Modulation Synthesis --
|g 8.2.1.
|t Phase Modulation --
|g 8.2.2.
|t Signal Bandwidth and Aliasing --
|g 8.2.3.
|t Carrier to Modulator Ratio --
|g 8.2.4.
|t Implementation --
|g 8.2.5.
|t Frequency Modulation --
|g 8.2.6.
|t Splitting Sidebands --
|g 8.2.7.
|t Feedback --
|g 8.2.8.
|t Complex PM --
|g 8.2.9.
|t Exponential FM --
|g 8.3.
|t Phase Distortion Synthesis --
|g 8.3.1.
|t Vector Phase Shaping --
|g 8.4.
|t Modified Frequency Modulation Synthesis --
|g 8.4.1.
|t Phase-synchronous ModFM --
|g 8.4.2.
|t Extended ModFM --
|g 8.5.
|t Polynomial Waveshaping --
|g 8.5.1.
|t Dynamic Spectra --
|g 8.5.2.
|t Normalization --
|g 8.5.3.
|t Implementation --
|g 8.5.4.
|t Chebyshev Polynomials --
|g 8.5.5.
|t Quadrature Waveshaping --
|g 8.6.
|t Other Distortion Functions --
|g 8.7.
|t Adaptive Modulation Methods --
|g 8.7.1.
|t Adaptive Frequency Modulation --
|g 8.8.
|t The Non-Linear Spectrum --
|g 9.
|t Noise --
|g 9.1.
|t Random Processes and Noise Signals --
|g 9.1.1.
|t Centroid and Bandwidth --
|g 9.1.2.
|t Probability Distribution and Density --
|g 9.1.3.
|t Power Spectrum Density --
|g 9.1.4.
|t Fractional Noise --
|g 9.1.5.
|t Spectral Moments --
|g 9.2.
|t Computing Noise --
|g 9.2.1.
|t Random Number Generators --
|g 9.2.2.
|t Sample and Hold --
|g 9.2.3.
|t Heterodyning --
|g 9.2.4.
|t Filtered Noise --
|g 9.2.5.
|t Wavetables --
|g 9.3.
|t Grain --
|g 9.3.1.
|t Asynchronous Granular Synthesis --
|g 9.3.2.
|t Wavelets --
|g 9.3.3.
|t Matching Pursuit --
|g 9.4.
|t The Spectral Envelope Revisited --
|g 9.4.1.
|t Linear Prediction --
|g 9.4.2.
|t Computing Prediction Coefficients --
|g 9.4.3.
|t Synthesis --
|g 9.4.4.
|t Spectral Representations --
|g 9.4.5.
|t Streaming Linear Prediction --
|g 9.5.
|t Spectral Models --
|g 9.5.1.
|t Partial Tracking --
|g 9.5.2.
|t Peak Identification --
|g 9.5.3.
|t Peak Interpolation --
|g 9.5.4.
|t Track Formation --
|g 9.5.5.
|t Frequency and Phase --
|g 9.5.6.
|t Synthesis --
|g 9.5.7.
|t Residual Extraction --
|g 9.5.8.
|t Modeling the Residual --
|g 9.5.9.
|t Transients --
|g 9.5.10.
|t Streaming Partial Track Processing --
|g 9.5.11.
|t ATS --
|g 9.6.
|t The Non-Deterministic Spectrum --
|g pt.
|
505 |
0 |
0 |
|t III
|t DESIGN --
|g 10.
|t Spectral Design in Music --
|g 10.1.
|t The Emergence of Spectral Color as a Structuring Device --
|g 10.1.1.
|t Chords and Spectra --
|g 10.1.2.
|t Instrumentation and Spectra --
|g 10.2.
|t Audio Technology --
|g 10.2.1.
|t Recording and Broadcasting as Carriers of Spectral Information --
|g 10.2.2.
|t Changes in Instrumental Sound --
|g 10.2.3.
|t The Mechano-Acoustic and the Electro-Acoustic --
|g 10.3.
|t Electronic Music --
|g 10.3.1.
|t The Feedback on Instrumental Writing --
|g 10.3.2.
|t Electric Jazz, Rock, and Pop --
|g 10.3.3.
|t Spectromorphology --
|g 10.3.4.
|t Spectral Hearing --
|g 10.4.
|t Computer Music --
|g 10.4.1.
|t Risset's Catalog --
|g 10.4.2.
|t Case Studies --
|g 10.5.
|t The Musical Spectrum --
|g 11.
|t Computer Sound Design --
|g 11.1.
|t Additive Synthesis --
|g 11.1.1.
|t Recursion --
|g 11.2.
|t Non-Linear Distortion --
|g 11.2.1.
|t Operator FM --
|g 11.2.2.
|t Synthesis of Resonance --
|g 11.3.
|t Source-Modifier Techniques --
|g 11.3.1.
|t String Machines --
|g 11.3.2.
|t The Vocoder --
|g 11.4.
|t Granular Processing --
|g 11.5.
|t Analysis-Synthesis --
|g 11.5.1.
|t Spectral Envelopes --
|g 11.5.2.
|t Morphing --
|g 11.5.3.
|t Timescaling --
|g 11.5.4.
|t Spectral Delays --
|g 11.6.
|t Design Methods --
|g 12.
|t Composing the Spectrum --
|g 12.1.
|t Spectral Music-Making --
|g 12.1.1.
|t Metaphors --
|g 12.1.2.
|t Terminology --
|g 12.1.3.
|t Realtime Systems and Performance --
|g 12.1.4.
|t Physical and Virtual Space --
|g 12.1.5.
|t Approaches to Composing the Spectrum --
|g 12.2.
|t The Composition of Mouvements --
|g 12.2.1.
|t The Generative Principle --
|g 12.2.2.
|t Variations --
|g 12.2.3.
|t Other Variants --
|g 12.2.4.
|t Macrostructure --
|g 12.2.5.
|t Discussion --
|g 12.3.
|t Conclusion: the Spectral Playground.
|
650 |
|
0 |
|a Computer music.
|0 http://id.loc.gov/authorities/subjects/sh85029511
|
650 |
|
0 |
|a Computer music
|x Computer programs.
|
650 |
|
0 |
|a Spectral music.
|0 http://id.loc.gov/authorities/subjects/sh2003002245
|
650 |
|
0 |
|a Sound
|x Recording and reproducing
|x Digital techniques.
|0 http://id.loc.gov/authorities/subjects/sh85125369
|
650 |
|
0 |
|a CSound (Computer program language)
|0 http://id.loc.gov/authorities/subjects/sh2002010420
|
650 |
|
0 |
|a Python (Computer program language)
|0 http://id.loc.gov/authorities/subjects/sh96008834
|
650 |
|
7 |
|a Computer music.
|2 fast
|0 (OCoLC)fst00872274
|
650 |
|
7 |
|a CSound (Computer program language)
|2 fast
|0 (OCoLC)fst00843460
|
650 |
|
7 |
|a Python (Computer program language)
|2 fast
|0 (OCoLC)fst01084736
|
650 |
|
7 |
|a Sound
|x Recording and reproducing
|x Digital techniques.
|2 fast
|0 (OCoLC)fst01126959
|
650 |
|
7 |
|a Spectral music.
|2 fast
|0 (OCoLC)fst01129064
|
903 |
|
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|a HeVa
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929 |
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|a cat
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|i 1466842e-6d94-5fe3-b4d8-d6bc7ca05ea6
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|
928 |
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|t Library of Congress classification
|a ML74 .L39 2021
|l JRL
|c JRL-Gen
|i 12649669
|
927 |
|
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|t Library of Congress classification
|a ML74 .L39 2021
|l JRL
|c JRL-Gen
|e DOBS
|b 117227533
|i 10327746
|