Уточняването на терминологията необходима процедура при информационното моделиране на музиката
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Real-Time Software Synthesis, and Live Performance Interaction, "Proceedings of the 1992 International Computer Music Conference", CMA, 1992
46. Weidenaar, Reynold. The Telharmonium: A History of the First Music Synthesizer, 1893-1918. (Ph.D. thesis), New York University, 1988. 47. Mind over MIDI /edited by Dominic Milano ; by the editors of Keyboard magazine/. Milwaukee, WI (H. Leonard Books) 1987. 48. Bates,John. The synthesizer. Oxford (Oxford University Press, Music Dept.) 1988. 49. Crombie, David. The synthesizer and electronic keyboard handbook; [foreword by Thomas Dolby]. N.Y. (Knopf) 1984. 50. Friedman, Dean. Synthesizer basics. New York (Amsco Publications) 1986 51. Synthesizer technique /by the editors of Keyboard magazine/.Milwaukee, WI (H. Leonard Books) 1987. 52. Synthesizers and computers /Ed. by Brent Hurtig/ Milwaukee, Wis. (H. Leonard Pub. Corp), 1987. 53. Horn, Delton T. Electronic music synthesizers. Blue Ridge Summit, Pa. (Tab Books), 1980. 54. Pressing,Jeff. Synthesizer performance and real-time techniques. Madison, Wis. (A-R Editions), 1992. 55. Quinzi, Steve. Synthesizer Orchestration. 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Addison Wesley, 1990 67. Erikson R., Sound Structure in Music. Berkeley: University of California, 1975. 68. Cogan, Robert. New images of musical sound. Cambridge, Mass. (Harvard University Press), 1984. 69. Smith F., The Experiencing of Musical Sound. Prelude to a Phenomenology of Music. New York, London, Paris., 1979. 70. Merce, John R. The Science of Musical Sound. Freeman, 1983. 71. Sundberg, J. The Science of Musical Sounds. Academic Press, 1992. 72. Mowitt, J. The Sound of Music in the Era of Its Electronic Reproducibility, In: R. Leppert/S. McClary (Ed.), Music and Society: The Politics of Composition, Performance and Reception, New York (Cambridge University) 1987, p. 173-197. 73. Peyser, J., The Music of Sound, or The Beatles and the Beatless, In: Columbia University Forum, 1967, 10(3), p.16-22. 74. Gorges, Peter /Merck, Alex. Keyboards, MIDI, Homerecording, Muenchen (Carstensen) 1993. 75. Musical Thought at IRCAM. Ed. by Tod Machover. In: Contemporary Music Review, v 1, Part 1, London, NY.. (Harwood Academic Publications) 1984. 76. Панайотова, М. Класификационни системи и автоматизация на библиотечно-библиографските процеси. - Библиотекар. 1991, № 10, с. 2-3. 77. Мол, Абрахам. Информационен подход към възприемането и към музикалното изкуство. В: А. Мол. Нови студии /съст.: К. Ангов/. София, 1992. 78. Newquist, H. P. Music & Technology. New York, 1989. 79. Кавалджиев Л. Обща теория на музикалната култура в епохата на НТР (в България през 80-те и 90-те години). -Българско музикознание, N 3, 1993. 80. Кавалджиев Л. Прогресът и музиката. София, 1980, 129 с. 81. Bayle, F. La musique acousmatique ou l'art des sons projetes, In: Encyclopaedia Universalis, Paris, 1985. 82. Machover, T. Computer Music with and without Instruments. In: Musical Thought at IRCAM. /Ed. by Tod Machover/. -Contemporary Music Review, v 1, Part 1, London, NY (Harwood Academic Publications) 1984, pp. 203-230. 83. Таблици на десетичната класификация. София, (НБКМ) 1985, 243 с. 84. Таблици на десетичната класификация (Допълнение). Азбучно-предметен показалец. С., (НБКМ) 1992, 36 с. 85. Extensions and corrections to the UDC - 1981. Ser. 11, 2, 1982. 86. Born, Georgina. Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde (an anthropological study of IRCAM), Berkeley, Cal. (UCal Press), 1995, 390 pp. 87. Weiner, R. Archives and Automation: Issues and Trends. /American Memory Project (MARC) - Library of Congress, Internet/. Austin (Texas), 1995, 13p. 88. Стателова, Р. Обърнатата пирамида. София, 1993, 120с. 89. Ackermann, P. Computer und Musik. Eine Einfuehrung in die digitale Klangverarbeitung. Wien, New York, Berlin (Springer), 1991. 90. DiScipio, Agostino. Inseparable Models of Materials and of Musical Design in Electroacoustic and Computer Music. -Interface, Vol. 24, 1995 91. Perry R. Cook, A meta-wind-instrument physical model, and a meta-controller for real time performance control, preprint CCRMA, Stanford, pp. 273-276, 1992.. 92. Kavaldziev, L. Entwurf eines theoretisches Funktionsmodells an Beispielen der Rock-und Popmusik. - Beitrage zur Musikwissenschaft, Heft 3/4, 1985, S. 303-309. 93. Кавалджиев Л. Към общата теория на саунда (I част). -Българско музикознание, № 2, 1994, с.3-24. 94. Кавалджиев Л. Към общата теория на саунда (II част). -Българско музикознание, № 3, 1994, с. 56-78. 95. Кавалджиев, Л. Мястото на музиката в съвременния информационен модел на културата. -Българско музикознание, № 3, 1995, с.52-75. 96. Драганова, Росица. Към въпроса за цикличността на музикално - културното развитие. Автореферат. София (БАН), 1997. 97. Первазов А. Шамани и компютри: Електроакустичната музика и традиционните световни култури. -Българско музикознание, кн. 1, 1998, с.3-23. 98. Kalliris, G and G. Papanikolaou. Isolation of Rhythmic Patterns in Musical Signals. In: "The 92nd Convention,1992, March 24-27, Vienna"/[2MU2.03], Preprint 3267/, NY (AES), 1992. 99. Ahlback, S. A Computerized Method of Analysis of Tonality in Monophonic Melodies. In: Annual Conference of the Society for Music Perception and Cognition: Abstracts. June 1993, Philadelphia, Pennsylvania (University of Pennsylvania), pp. 5-6. 100. Doershuk, B. New Age Hits Middle Age. Confronting the Betrayal of Noble Ideals, - KEYBOARD, October, 1988, p. 36 - 53. 101. Gerbrich, J., P. Randula and R. Ruzicka. Computer Program for Composition and Automatic Notation of Contemporary Instrumental and Vocal Music. -Computers and Artifical Intelligence. Vol 10, 1991, N 5, pp. 487-503. 102. Fishwick, Paul. Computer Simulation: The Art and Science of Digital World Construction. New Jersey (Prentice-Hall), 1995. 103. Кавалджиев, Л. Музикознанието? В: "Нова българска музика '89 - Секция музиковеди" /доклади/, София (изд. СБК), 1989, с.31-45. П Р И Л О Ж Е Н И Я Приложение 1. Извадка от академична библиографска класификация на тема "музикознание", получена по ИНТЕРНЕТ. ...... 26 MUSICOLOGY The BOOKBRIDGE Academic Classification 26.00 Musicology in general 26.01 History of musicology 26.03 Teaching musicology 26.05 The profession and its organizations 26.07 Music and society 26.15 Theory and aesthetics of music 26.17 Historical musicology 26.17.00 generalities 26.17.21 western formal music 26.17.23 non-western formal music 26.17.25 western folk music 26.17.27 non-western folkmusic 26.17.29 light music/pop music 26.17.31 jazz 26.17.99 remaining subjects 26.18 On specific musicians and composers 26.21 Performance 26.21.00 generalities 26.21.21 orchestral music/orchestras 26.21.23 chamber music 26.21.25 vocal music/choirs 26.21.99 remaining subjects 26.27 Opera and operetta (identical to 25.33 sub Studies in perform.arts (inc. film)) 26.29 Accompaniment (incl. film music) 26.31 Musical instruments 26.99 Remaining subjects [Top of page] [Back to main classification] ПРИЛОЖЕНИЕ 2 Заб: Тук е показана УДК за печатни публикации на тема музика според: "Таблици на десетичната класификация С., НБКМ, 1985" и "ОСНОВНИ ДЕЛЕНИЯ и Таблици на десетичната класификация (Допълнение). Азбучно-предметен показалец С., НБКМ, 1992". Международната федерация по документация (МФД) създава система за усъвършенствуване и развитие на Таблиците за десетична класификация, чиито резултати се публикуват в специални периодични издания. В българската публикация на УДК от 1985 г. се твърди, че са били взети под внимание всички изменения и допълнения от 1981 г. според "Extensions and corrections to the UDC" 1981. Ser. 11,2,1982). В този български вариант, издаден от Народната Библиотека, съставител на таблицата за отдел 7: "Изкуство", е Анастасия Лютова, а редактор е Лора Рибарска. Веднага правят впечатление не само съществените непълноти в класификацията за музика, но и напълно произволния превод на някои от дескрипторите. Например с "деятелни" /78.071/ е преведено английското Performance (представление, спектакъл). Раздел 78 Музика -, балетна 782.91 -, вокална 784 -, деятелни 78.071 -, инструментална 785/789 . .
-, народна 781.7 ПРИЛОЖЕНИЕ 3 Пример за (мултимедийна) WWW страница, извлечена от ИНТЕРНЕТ на адрес: http://www.cise.ufl.edu/~fishwick/music/. Тя представя P. Fishwick - композитор на електронна и компютърна музика. Страницата е типична за много днешни създатели на този вид (online) музика по ИНТЕРНЕТ. Тя съдържа рефлексии от автора за неговите артистични интереси и занимания, примери с негова музика, фотографии, видео и препратки към други музикални автори или към източници на интересен софтуер и информации на същата тема. Заб.: Местата на екрана (Links), от където може да се видят фотографиите и видеото тук са отбелязани с: [Image], текстовите препратки са отбелязани от нас с подчертаване, а с курсив са отбелязани онези, чрез които могат да бъдат копирани (и след това - прослушвани) файлове с музикални произведения. Computer Music (P. Fishwick) [Image] [Image] [Image] [Press for Video] All music Copyright (C) 1997 Paul Fishwick Listen to streaming stereo audio in real time - see the "Digital Audio" section below. Click on the photograph to the left (you will need Real Player).
The first selection of music is General Midi compliant and uses no special sound banks. As long as you play it on a card or module that uses wavetable synthesis, the sound will be fairly faithful to the original. Avoid FM synthesis for GM reproduction (i.e. FM is fine as a tool in analog synthesis). The second selection requires that you own a Sound Blaster 32 or an AWE32 sound card. The third selection represents digital audio pieces originally sampled at 44kHz/16-bits and then compressed using the RealAudio 3.0 Encoder. You will need the RealAudio plugin or player to be able to hear it. The advantage of digital audio is that one can take advantage of many sound modules and instruments to create a piece, but the disadvantage is that digital audio files are generally huge and, therefore, take substantial time to download or stream. Several live-streaming and compression approaches are available. I chose RealAudio since it provides very good compression: nobody wants to download megabytes of audio -- it's just not worth it. * Profile of Myself and Music * General MIDI (GM) * MIDI with E-mu SoundFont Banks * Digital Audio (RealAudio Compressed) * Software for Computer Music (IBM)
Computer Music (P. Fishwick) My music can be categorized as "computer music" in general since there are no acoustic instruments used --- only a computer, racks and modules.
In the 70s, many rock bands had an orchestral kind of sound using synthesizers as a base. Tangerine Dream is probably my favorite band, but Emerson, Lake and Palmer (ELP), Yes, Genesis and Rush are great favorites. In the mid 70s, I was fascinated by Jean Michael Jarre's music (with Oxygene) and enjoyed music by Eno and Fripp. In the 80s, I found myself with many artists to choose from including the original Tangerine Dream (I fell in love with Poland and Logos), Patrick O'Hearn, Steve Roach, Don Slepian, Klause Schulze, and Richard Burmer to name a few. Recently, I have obtained CDs of ambient and techno groups such as Autechre, Orbital, Aphex Twin, Future Sound of London and Spacetime Continuum. I have also re-discovered some of the solo CDs from Tangerine Dream members Christophe Franke, Edgar Froese and Johannes Schmoelling. Musical genres come and go. If I reference the categories in record/CD stores to illustrate my musical interests, it all started in the "Special Effects" or "Electronic Music" sections in the 60s. Then, many rock bands featured orchestral-quality electronic pieces (ELP and Yes) and so the "Rock" section was the place to be. "New Age" arrived in the 80s and we have genres such as "Ambient", "Techno", "Industrial", "Dance" and so on. With the birth of the personal computer and MIDI in the 80s, I now classify my own music as "Computer Music" for no particularly good reason. Although I've had a long-time love of music, I have not been in a good position to create my own music due to a lack of technology and equipment expense. With inexpensive sound cards such as the SoundBlaster 32 and AWE32, suddenly, a person with an interest in electronic computer music finds himself with the right tools. I believe that everyone should make music and that we are too constrained to think that to make music, we must spend years on "manual finger exercises." Prior to having a personal computer with MIDI capability, I had spent a year playing piano (1983), and getting nowhere quickly. This was boring. Using a computer, sequencer and the SoundBlaster, in addition to my other MIDI hardware (ref. the section on digital audio), I have finally found the right tools for the kind of music I like. I am simply not satisfied spending hundreds of hours on a piano or with a saxophone developing "muscle memory." After all, I am not interested in live performance -- I am out to design music, not reproduce it "live." I want to create extravagant orchestral-size scores, which is now possible. I spend more time thinking about editing and composing and less on the finger dexterity. This is as it should be. With the right technology now at my disposal, I am willingly relearning scales and music notation on the side. I am thirsty to learn more about music theory. But it is important to see the causal relation: I am having fun learning music theory, scales and orchestration as a result of being able to create pleasing music quickly, and not because I had to wade through torturous years of playing music that just doesn't interest me. What a great way to learn! We are at the start of a revolution in music, mainly due to the computer and its relation to music, but also due to the MIDI standard which is really all about "control". Do people spend countless hours to learn how to paint and draw or to create pleasing visual artforms? Well, of course they do. But, here is a key point: people will derive more pleasure in art when they are able to generate their own pleasing artforms after only a modicum of time investment. It really cannot work any other way. I don't mind spending 10 weeks in an oil painting class if I can graduate from it with the feeling that I am deriving some level of enjoyment from some of my own creations. With photography and computer graphics, visual art has come to the masses. Many people snap photographs and use graphics and computer art packages to design things they actually like. Why can't this work in music as well? The answer is that "it can." When you visit the local bookstore, ask yourself why there are many books on digital art and computer graphics but hardly any on computer music. Is music destined to be practiced only by those whose hands and heads were forced from early childhood to play musical instruments? The time is ripe for change. The SoundBlaster 32 is a brilliant choice if you own an IBM/PC. Make sure to add memory to it since it takes up to 28MB, but I find that 8MB provides for a very nice size for SoundFont memory. Go and get a software sequencer and an inexpensive sound card with at least wave-table synthesis. Now, you are ready to compose your own music that you will actually enjoy, and so will your friends. General Midi * "Jupiter Wedding" (C) 1996, Paul Fishwick Hardware: SB AWE32, Pentium 120MHz; Software: Koan Pro. o SKP File (8K): Koan Pro Play File (.SKP) o ZIP File (59K): Compressed Midi File (.MID) o MID File (181K): Midi File (.MID) * "East Indian Sea Village" (C) 1996, Paul Fishwick Hardware: SB AWE32, Pentium 120MHz; Software: Koan Pro. o SKP File (10K): Koan Pro Play File (.SKP) o ZIP File (29K): Compressed Midi File (.MID) Изтегляне 0.93 Mb. Сподели с приятели:
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