Computer music (8 resultados)

Paperback. Condición: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Condición: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Condición: New.

Paperback. Condición: Brand New. 1st edition. 247 pages. German language. 9.25x6.25x0.75 inches. In Stock.

Condición: As New. Unread book in perfect condition.

Hardcover. Condición: Very Good. **Music and the Computer"—a VERY Early and Foundational Paper** Mathews, M.V. "The Digital Computer as a Musical Instrument" in Science, published by the American Association for the Advancement of Science, 1 November 1963, vol 142, no. 3591, offered in the full volume for October-December 1963, 1690pp. All of the original wrappers are bound into the volume. **Mathews argued clearly that a digital computer could be used not merely to analyze music, but actually to create and synthesize sound. In 1963 that was a radical proposition. Computers were gigantic, expensive scientific machines, not artistic tools. ** Very stout, heavy, strong, straight volume, bound in a red cloth. Very usable in pite of its size and bulk. This is an ex-library copy, though there are no signs on the binding. Each issue dies have a simple rubber stamp on the cover from the previous owner as well as a mailing sticker on the rear cover of each of the bound-in wrappers. Also the top and side of the textblock eachhas a small rubbe stamp from the previous owner. VG copy. "The rapid evolution of [Mathews] work inspired [him] to publish a visionary 1963 Science Magazine piece [offered here] confidently predicting the computer would soon emerge as the ultimate musical instrument. 'There are no theoretical limits', he wrote, 'to the performance of the computer as a source of musical sounds." And: "Two further major 1950s developments were the origins of digital sound synthesis by computer, and of algorithmic composition programs beyond rote playback. Max Mathews at Bell Laboratories developed the influential MUSIC I program and its descendants, further popularising computer music through a 1963 article in Science [the paper offered here]. --Bogdanov, Vladimir, "All Music Guide to Electronica: The Definitive Guide to Electronic Music", 1980, Backbeat Books. p. 321. "Max Vernon Mathews (1926-2011) was a pioneer of computer music, He studied electrical engineering at the California Institute of Technology and the Massachusetts Institute of Technology, receiving a Sc.D. in 1954. Working at Bell Labs, Mathews wrote MUSIC, the first widely used program for sound generation, in 1957. For the rest of the century, he continued as a leader in digital audio research, synthesis, and human-computer interaction as it pertains to music performance. In 1968, Mathews and L. Rosler developed Graphic 1, an interactive graphical sound system on which one could draw figures using a light-pen that would be converted into sound, simplifying the process of composing computer generated music. Also in 1970, Mathews and F. R. Moore developed the GROOVE (Generated Real-time Output Operations on Voltage-controlled Equipment) system, a first fully developed music synthesis system for interactive composition and realtime performance."--Wikipedia n Max Mathews. "[Mathews] published another detailed paper, "The Digital Computer as a Musical Instrument" in Science, November 1, 1963. These papers created a widespread interest in the generation of waveforms by digital computers, for musical or research purposes." John R. Pierce quoted in "Technology, Musical Perception, and the Composer"--"Technology and Perception," by J. Timothy Kolosick. 714.3.…

Soft cover. Condición: Fine. MATHEWS, Max V. Two items. (1) "The Digital Computer as a Musical Instrument" in Science, vol 142 no. 3592, 1 November 1963 in the issue of pp of (ii), 545-624 with the Mathews on pp 553-557. This is the full issue extracted from a larger bound volume with the spine finely restored professionally with a slick paper backing. VG/Fine copy. (2) C. Roads, "Interview with Max Mathews", in Computer Music Journal, vol 4 no. 4, Winter 1980, published by the MIT press. 95p, with the Mathews interview on pp 15-22. Original wrappers. Slick paper. FINE copy. This issue comes with a **flexidisk** recording laid in: Paul Lansky, "Two Fantasies on a Poem by Thomas Campion" (1980) on side one. Side two: "Examples of digital sound synthesis techniques by James Dashow", and with "Opening section of Prisms by Stanley Haynes". 7"x 7". Black acetate (?) Very Fine. [++] Both are laid into a new and very fine four-fold case with leather joints. Lovely. "The rapid evolution of [Mathews] work inspired [him] to publish a visionary 1963 Science Magazine piece [offered here] confidently predicting the computer would soon emerge as the ultimate musical instrument. 'There are no theoretical limits', he wrote, 'to the performance of the computer as a source of musical sounds." And: "Two further major 1950s developments were the origins of digital sound synthesis by computer, and of algorithmic composition programs beyond rote playback. Max Mathews at Bell Laboratories developed the influential MUSIC I program and its descendants, further popularising computer music through a 1963 article in Science [the paper offered here]. --Bogdanov, Vladimir, "All Music Guide to Electronica: The Definitive Guide to Electronic Music", 1980, Backbeat Books. p. 321. "Max Vernon Mathews (1926-2011) was a pioneer of computer music, He studied electrical engineering at the California Institute of Technology and the Massachusetts Institute of Technology, receiving a Sc.D. in 1954. Working at Bell Labs, Mathews wrote MUSIC, the first widely used program for sound generation, in 1957. For the rest of the century, he continued as a leader in digital audio research, synthesis, and human-computer interaction as it pertains to music performance. In 1968, Mathews and L. Rosler developed Graphic 1, an interactive graphical sound system on which one could draw figures using a light-pen that would be converted into sound, simplifying the process of composing computer generated music. Also in 1970, Mathews and F. R. Moore developed the GROOVE (Generated Real-time Output Operations on Voltage-controlled Equipment) system, a first fully developed music synthesis system for interactive composition and realtime performance."--Wikipedia n Max Mathews. [++] "[Mathews] published another detailed paper, "The Digital Computer as a Musical Instrument" in Science, November 1, 1963. These papers created a widespread interest in the generation of waveforms by digital computers, for musical or research purposes." John R. Pierce quoted in "Technology, Musical Perception, and the Composer". --"Technology and Perception," by J. Timothy Kolosick.…

Condición: New. Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. As a Lecturer and Audio Engineer for the Center for Computer Research in Music and Acoustics, Stanford University, Jay Kadis has written and performed with several bands, including Urban Renewal and Offbeats. He has built home studios, recorded and produce.…