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E-raamat: Digital Musician

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(Bath Spa University, UK)
  • Formaat: PDF+DRM
  • Ilmumisaeg: 03-Sep-2018
  • Kirjastus: Routledge
  • Keel: eng
  • ISBN-13: 9781351337397
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Digital MusicianSuurem pilt
  • Formaat: PDF+DRM
  • Ilmumisaeg: 03-Sep-2018
  • Kirjastus: Routledge
  • Keel: eng
  • ISBN-13: 9781351337397
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The Digital Musician, Third Edition is an introductory textbook for creative music technology and electronic music courses. Written to be accessible to students from any musical background, this book examines cultural awareness, artistic identity and musical skills, offering a system-agnostic survey of digital music creation. Each chapter presents creative projects that reinforce concepts, as well as case studies of real musicians and discussion questions for further reflection.

This third edition has been updated to reflect developments in an ever-changing musical landscapemost notably the proliferation of mobile technologiescovering topics such as collaborative composition, virtual reality, data sonification and digital scores, while encouraging readers to adapt to continuous technological changes. With an emphasis on discovering ones musical voice and identity, and tools and ideas that are relevant in any musical situation, The Digital Musician is sure to be an invaluable student resource for years to come.

Features of the third edition:











Additional case studies, with new interviews exclusive to the third edition Revised chapter structure with an emphasis on student focus and understanding, featuring additional and expanded chapters Reinstatement of selected and updated first edition topics, including mixing, mastering and microphones Companion website featuring case study interviews, a historical listening list, bibliography and many additional projects

Visit the companion website: www.andrewhugill.com/thedigitalmusician

Arvustused

"The third edition of The Digital Musician brings this superb textbook up to date, with new information and a revised structure that provides clarity and insight. Andrew Hugill invites readers to consider the essential question of what it is to be a musician working with digital technologies. The Digital Musician is the only book that approaches the subject in such a fundamentally holistic manner. It should be on every reading list of every university music course."

Paul Jackson, Director of Music and Performance, Anglia Ruskin University, UK

"The Digital Musician is a thorough introduction to creative music technologies, written for the twenty-first century musician. It provides not only a practical survey of the techniques but also a panorama of the aesthetics and ideas that surround digital music making. This is recommended reading for anyone ready to jump into the field but not yet acquainted with its fundamentals."

Victor Lazzarini, Dean of Arts, Celtic Studies, and Philosophy, Maynooth University, Ireland

"Andrew Hugill's panoramic view of twenty-first century music enables readers to find their unique place in our changing world and to understand where others are coming fromeven the weird ones! The Digital Musician presents a thoughtful survey for newcomers while filling in foundations for more experienced readers."

Jeffrey M. Morris, Associate Professor, Department of Performance Studies, Texas A&M University

List of Figures and Tables xiv
Preface xvii
Notes to the Third Edition xxii
Acknowledgments xxiv
Introduction: The Digital Musician 1(1)
What Are You? 2(3)
Where Have You Come From? 5(5)
Where Are You Going? 10(2)
Introduction to the Case Studies 12(4)
Food for Thought 16(1)
Projects 17(2)
Project 1 (Short): Elevator Pitch
17(1)
Project 2 (Medium): Personal Vision Statement
17(1)
Project 3 (Long): Creating a Portfolio
18(1)
Further Reading 19(2)
Part I Aural Awareness 21(56)
1 Hearing and Listening
23(20)
Hearing
24(6)
Information: The Mechanics of Hearing
25(1)
The Ear-Brain Connection
26(1)
Machine Listening
26(4)
Listening
30(4)
Listening Modes
30(2)
Listening Situations
32(2)
Comments from the Case Studies
34(1)
Food for Thought
35(1)
Projects
36(3)
Project 4 (Short): Listen, Listen
36(1)
Project 5 (Medium): Soundwalk
36(1)
Project 6 (Long): Soundscape Composition
37(2)
Further Reading
39(1)
Suggested Listening
40(3)
2 Listening to Music
43(13)
How Musicians Listen
44(1)
The Musician's Ear
44(2)
Aural Phenomena
46(1)
Active Listening
47(1)
Critical Listening
48(2)
Comments from the Case Studies
50(1)
Food for Thought
50(1)
Projects
51(3)
Project 7 (Short): Extended Duration
51(1)
Project 8 (Medium): Imitation Game
51(1)
Project 9 (Long): Jean-Claude Risset's Sud
52(2)
Further Reading
54(1)
Suggested Listening
54(2)
3 Exploring Sound
56(21)
Acoustics and Psychoacoustics
57(2)
Information: Fundamentals of Acoustics
58(1)
From Noise to Silence
59(3)
Information: Noise and Loudness
60(2)
Sound Structures
62(1)
Pitch and Tuning
63(3)
Information: The Harmonic Series
65(1)
Duration
66(2)
Timbre vs. Spectrum
68(3)
Harmonicity and Inharmonicity
69(1)
Rhythm vs. Beat
70(1)
Comments from the Case Studies
71(1)
Food for Thought
71(1)
Projects
72(2)
Project 10 (Short): From Rhythm to Pitch (and Back Again)
72(1)
Project 11 (Medium): Sound Structures
73(1)
Project 12 (Long): Drone Piece
73(1)
Further Reading
74(1)
Suggested Listening
75(2)
Part II Musical Creativity 77(86)
4 Working with Digital Audio
79(22)
About Digital Audio
80(1)
Digital vs. Post-Digital
81(2)
Information: Fourier Transforms
83(1)
Creative Digital Audio
83(2)
Information: File Formats
84(1)
Digital Synthesis
85(4)
Information: Sinusoids
85(4)
Recording and Mixing
89(4)
Information: Microphones
90(3)
Musical Metadata
93(1)
Music Information Retrieval
93(1)
Sonification
94(1)
Comments from the Case Studies
95(1)
Food for Thought
96(1)
Projects
97(1)
Project 13 (Short): FFT Processing
97(1)
Project 14 (Medium): Mix Transitions
97(1)
Project 15 (Long): Sonification Project
98(1)
Further Reading
98(1)
Suggested Listening
99(2)
5 Shaping Sounds
101(21)
Selecting Sounds
102(1)
Representing Sounds
103(3)
Wave-Form Diagrams
103(1)
Spectrograms
104(2)
Manipulating Sounds
106(9)
Temporal FX
108(1)
Loudness FX
109(2)
Spatial FX
111(1)
Pitch FX
112(1)
Timbral FX
113(2)
Sculpting Sounds
115(1)
Comments from the Case Studies
116(2)
Food for Thought
118(1)
Projects
118(2)
Project 16 (Short): Reverse EQ
118(1)
Project 17 (Medium): Analysis-Synthesis
119(1)
Project 18 (Long): Spectral Composition
119(1)
Further Reading
120(1)
Suggested Listening
120(2)
6 Organizing Sound
122(21)
Sound-Art/Sonic Art
123(1)
Sound in Space
124(3)
Information: Behavior of Sound in Space
125(2)
Networked Space
127(2)
Spatialization
129(1)
Multichannel Sound Diffusion
129(3)
Information: Spatialization Layouts
130(2)
Sound through Time
132(1)
Sp ectromorphology
133(1)
Style
134(1)
Comments from the Case Studies
135(2)
Food for Thought
137(1)
Projects
138(2)
Project 19 (Short): Diffraction Experiment
138(1)
Project 20 (Medium): Sonic Wiki
138(1)
Project 21 (Long): Quintessence
139(1)
Further Reading
140(1)
Suggested Listening
141(2)
7 Composing Music
143(20)
The Composer
143(1)
Why Compose?
144(3)
The Compositional Process
147(1)
Aural Imagination
148(1)
Intention and Result
148(1)
Freedom and Constraint
149(1)
Originality
150(2)
Form and Structure
152(3)
Moods and Modalities
155(1)
Collaborative Composition
156(1)
Comments from the Case Studies
157(2)
Food for Thought
159(1)
Projects
159(2)
Project 22 (Short): Instant Mood
159(1)
Project 23 (Medium): Pastiche
160(1)
Project 24 (Long): Inspiration Box
161(1)
Further Reading
161(2)
Part III Performance Ability 163(72)
8 Instruments
165(17)
Musicians and Their Instruments
166(1)
Organology
167(1)
Extended Acoustic Instruments
168(2)
Software Instruments
170(1)
About MIDI
170(2)
Information: Some Typical MIDI Set-Ups
171(1)
Controllers
172(1)
Hardware Hacking
173(2)
Comments from the Case Studies
175(3)
Food for Thought
178(1)
Projects
178(2)
Project 25 (Short): Restricted Instruments
178(1)
Project 26 (Medium): Controller Experiment
179(1)
Project 27 (Long): ping-hack-rom-seed
179(1)
Further Reading
180(1)
Suggested Listening
180(2)
9 Performing
182(19)
The Performer
183(1)
Performance Situations
183(1)
Networked Performance
184(2)
Installation Work
186(1)
Performance Scores
187(1)
Being Live
188(3)
Improvisation
191(1)
Live Coding
192(1)
Artificial Intelligence
193(1)
Comments from the Case Studies
194(2)
Food for Thought
196(1)
Projects
196(2)
Project 28 (Short): Network Performance
196(1)
Project 29 (Medium): Performance Score
197(1)
Project 30 (Long): Improvisation Ensemble
197(1)
Further Reading
198(1)
Suggested Listening
199(2)
10 Musicianship
201(15)
Digital Musicianship
202(1)
Technical Mastery
203(1)
Critical Judgment
204(1)
Aural Skills
205(1)
Musical Literacy
205(3)
Ensemble Abilities
208(1)
Creativity
208(1)
Virtuosity
208(1)
Comments from the Case Studies
208(4)
Food for Thought
212(1)
Projects
212(2)
Project 31 (Short): Three Levels of Expression
212(1)
Project 32 (Medium): Digital Musicianship Exam
213(1)
Project 33 (Long): Data Virtuoso
213(1)
Further Reading
214(1)
Suggested Listening
214(2)
11 Media
216(19)
Multimedia
217(1)
Film and Video
218(1)
Fixed Media
219(1)
Interactive Music
220(2)
Mobile Platforms
222(2)
Small Devices
224(1)
Virtual Reality
225(1)
Augmented Reality
226(1)
Games
226(2)
Comments from the Case Studies
228(1)
Food for Thought
229(1)
Projects
229(2)
Project 34 (Short): Gameplay Music
229(1)
Project 35 (Medium): Sound-Track Substitutions
230(1)
Project 36 (Long): VJ Set
230(1)
Further Reading
231(2)
Suggested Listening
233(2)
Part IV Cultural Knowledge 235(58)
12 Cultural Context
237(16)
Digital Culture
239(1)
The Thinking Musician
240(1)
Emergence
241(1)
Cultural Diversity
241(1)
Global Culture
242(1)
Cultural Translations
243(3)
Bret Battey (2005) Autarkeia Aggregatum
243(1)
Wendy Carlos (1986) 'Poem for Bali' from Beauty in the Beast
244(1)
Jon Hassell/Brian Eno (1980) Fourth World, Vol. I-Possible Musics
245(1)
Alejandro Villa() (1991) Chant d'Ailleurs
246(1)
Comments from the Case Studies
246(2)
Food for Thought
248(1)
Projects
249(1)
Project 37 (Short): Cultural Origins
249(1)
Project 38 (Medium): I Hate...
249(1)
Project 39 (Long): Cultural Translation
250(1)
Further Reading
250(1)
Suggested Listening
251(2)
13 Critical Engagement
253(20)
Critical Theory
254(6)
Modernism and Postmodernism
255(2)
Structuralism and Deconstruction
257(1)
Some Notes about Semiotics
258(2)
Musicology
260(1)
Aesthetics
261(4)
Critical Judgment
265(1)
Comments from the Case Studies
266(2)
Food for Thought
268(1)
Projects
268(3)
Project 40 (Short): Balloon Debate
268(1)
Project 41 (Medium): Aesthetic Experiment
269(1)
Project 42 (Long): Creative Deconstruction
270(1)
Further Reading
271(2)
14 Understanding Digital Music
273(20)
Digital Music
274(2)
Audience or User-Controlled Music
275(1)
Computer-Controlled Music
275(1)
Composer/Performer-Controlled Music
276(1)
Genre
276(4)
Notation
280(1)
Analysis
281(4)
Evocative Transcription
285(1)
Comments from the Case Studies
286(1)
Food for Thought
287(1)
Projects
287(3)
Project 43 (Short): Quick Analysis
287(1)
Project 44 (Medium): Visual Score
288(1)
Project 45 (Long): Digital Minimalism
289(1)
Further Reading
290(1)
Suggested Listening
290(3)
Part V Real-World Skills 293(24)
15 The Digital World
295(22)
Being a Musician in the Digital World
296(1)
The Changing Workplace
296(3)
Careers
299(2)
Business
301(2)
Networking and Self-Promotion
303(3)
Production and Publishing
306(2)
Education and Training
308(2)
Comments from the Case Studies
310(3)
Food for Thought
313(1)
Projects
313(2)
Project 46 (Short): Open a Channel
313(1)
Project 47 (Medium): Pecha Kucha
314(1)
Project 48 (Long): Sonic Branding
314(1)
Further Reading
315(2)
Index 317
Andrew Hugill is Professor of Creative Computing at University of Leicester, UK.
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