| Preface |
|
xxi | |
| So, What's New With the Update? |
|
xxii | |
| Book Content and Goals |
|
xxiii | |
| Experiencing Music Technology Online Projects and Support Website |
|
xxiv | |
| Icons in the Margin of the Book |
|
xxiv | |
| Definitions |
|
xxv | |
| Acknowledgments |
|
xxvi | |
| About the Authors |
|
xxvii | |
|
VIEWPORT I Musicians and Their Use of Technology |
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1 | (24) |
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1 | (2) |
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1 | (1) |
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2 | (1) |
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Module 1 People Making Technology |
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3 | (9) |
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Ballet of Technology and Music |
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3 | (1) |
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Five Periods of Technology History |
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4 | (8) |
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Period I (1600s-mid-1800s) |
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4 | (1) |
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Period II (mid-1800s-early 1900s) |
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4 | (1) |
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Period III (early 1900s-mid-1900s) |
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5 | (2) |
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Period IV (mid-1900s-1970s) |
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7 | (1) |
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8 | (4) |
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Module 2 People Using Technology |
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12 | (5) |
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12 | (1) |
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Innovation and Creativity |
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13 | (2) |
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15 | (1) |
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Music Technology in Practice |
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15 | (2) |
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Module 3 People Questioning Technology |
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17 | (4) |
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17 | (3) |
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No.
1. Does technology refer only to hardware? |
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17 | (1) |
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No.
2. Is there intimidating hidden ``knowledge'' inside the hardware? |
|
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17 | (1) |
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No.
3. Will the hardware break if something is done incorrectly? |
|
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18 | (1) |
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No.
4. Isn't computer technology really reserved for the technical elite? |
|
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18 | (1) |
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No.
5. Doesn't computer technology take too long to learn? |
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18 | (1) |
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No.
6. Isn't computer technology only for the young? |
|
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18 | (1) |
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No.
7. Doesn't technology remove the creative spirit, producing music that is antiseptic or sterile? |
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19 | (1) |
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No.
8. Aren't computers, digital audio, MIDI, and DVDs, when used for teaching about music, just another expensive set of technological gimmicks that take time and money away from the real business of music education? |
|
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19 | (1) |
|
No.
9. Doesn't technology, not music, become the focus? |
|
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19 | (1) |
|
No.
10. Isn't it true that technology replaces musicians' jobs? |
|
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19 | (1) |
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20 | (1) |
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Module 4 People Helping with Technology |
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21 | (4) |
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People with Technical Skills |
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22 | (1) |
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22 | (1) |
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Print and Nonprint Materials |
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22 | (1) |
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Professional Associations |
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22 | (3) |
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VIEWPORT II Computer and Internet Concepts for Musicians |
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25 | (50) |
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25 | (1) |
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25 | (1) |
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26 | (1) |
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Music Technology in Practice |
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26 | (1) |
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26 | (1) |
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Module 5 Computer Operating Systems and Internet Software |
|
|
27 | (19) |
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The Desktop: Your Computer and Its Operating System |
|
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27 | (2) |
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The Function of an Operating System |
|
|
27 | (1) |
|
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27 | (1) |
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28 | (1) |
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28 | (1) |
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Look and Feel: Graphic User Interface (GUI) |
|
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29 | (1) |
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Staying Organized with Hierarchical File Structure |
|
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29 | (2) |
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Volumes, Folders, and Files |
|
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29 | (1) |
|
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30 | (1) |
|
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31 | (4) |
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31 | (1) |
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32 | (1) |
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33 | (1) |
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34 | (1) |
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Additional Good Habits for Computer Maintenance |
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34 | (1) |
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35 | (1) |
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35 | (1) |
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Linux and the World of Open Source Code |
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35 | (1) |
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Extending the Desktop: Connecting to the Internet |
|
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36 | (1) |
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Types of Internet Software |
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|
36 | (10) |
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Web Surfing and Searching |
|
|
37 | (4) |
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Browsing Software Support for Other Internet Services |
|
|
41 | (1) |
|
Electronic Mail/Listservs |
|
|
41 | (1) |
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Digital Audio Purchasing/Sharing |
|
|
42 | (1) |
|
|
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43 | (1) |
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Forums, News Reading, and File Transfers |
|
|
44 | (1) |
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Additional Uses of the Internet with Music Software |
|
|
45 | (1) |
|
Module 6 Computer and Networking Concepts |
|
|
46 | (11) |
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Analog to Digital: Computers and the Analog World |
|
|
46 | (2) |
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Counting and Thinking with I and O |
|
|
47 | (1) |
|
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48 | (1) |
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Serial and Parallel: Computers and Their Peripherals |
|
|
48 | (1) |
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Expressing Data in Parallel Form |
|
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48 | (1) |
|
Expressing Data in Serial Form |
|
|
48 | (1) |
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Internet Protocols: Computers Connecting to the Internet |
|
|
49 | (3) |
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50 | (1) |
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Server Internet Addresses |
|
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50 | (1) |
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E-Mail Internet Addresses |
|
|
51 | (1) |
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|
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51 | (1) |
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File Formats: Sharing Files over the Internet |
|
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52 | (5) |
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Packaging and Compressing Files |
|
|
52 | (1) |
|
Exchanging Documents with Universal File Formats |
|
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53 | (2) |
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Exchanging Digital Audio and MIDI |
|
|
55 | (1) |
|
Exchanging Graphics and Video |
|
|
55 | (2) |
|
Module 7 The Mechanics of Computers and Networking |
|
|
57 | (18) |
|
Computer Hardware Operations and the IPOS Model |
|
|
57 | (10) |
|
|
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58 | (2) |
|
|
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60 | (2) |
|
|
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62 | (1) |
|
|
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63 | (1) |
|
|
|
63 | (3) |
|
|
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66 | (1) |
|
Networking: Routes to Connectivity |
|
|
67 | (8) |
|
|
|
67 | (1) |
|
|
|
67 | (1) |
|
|
|
68 | (2) |
|
|
|
70 | (5) |
|
VIEWPORT III Digital Audio Basics |
|
|
75 | (68) |
|
|
|
75 | (2) |
|
|
|
77 | (1) |
|
Music Technology in Practice |
|
|
78 | (3) |
|
|
|
78 | (1) |
|
|
|
78 | (1) |
|
|
|
79 | (1) |
|
|
|
80 | (1) |
|
Module 8 Acoustics, Digital Audio, and Music Synthesis |
|
|
81 | (22) |
|
Acoustical and Perceptual Dimensions of Sound |
|
|
81 | (9) |
|
Vibrations, Frequency, and Amplitude |
|
|
84 | (2) |
|
|
|
86 | (1) |
|
|
|
87 | (1) |
|
|
|
88 | (1) |
|
Harmonic Spectrum and Fourier's Theorem |
|
|
88 | (2) |
|
Summary of the Acoustic Properties of Sound |
|
|
90 | (1) |
|
Concepts of Digital Audio and Sampling: Analog to Digital and Back |
|
|
90 | (5) |
|
Sampling Rates and Quantizing |
|
|
92 | (1) |
|
Optimizing the Quality of Digital Audio |
|
|
92 | (3) |
|
Formats and Compression for Storing Digital Audio Files |
|
|
95 | (4) |
|
|
|
96 | (1) |
|
Increasing Compression While Fooling the Ear |
|
|
97 | (1) |
|
Streaming Audio Files for the Internet |
|
|
98 | (1) |
|
Varieties of Music Synthesis Techniques |
|
|
99 | (4) |
|
Analog Synthesis: Additive, Subtractive, and Distortive |
|
|
99 | (1) |
|
|
|
100 | (1) |
|
|
|
101 | (1) |
|
|
|
102 | (1) |
|
Module 9 Software for Capturing, Editing, and Storing Digital Audio |
|
|
103 | (24) |
|
Working with Audio on the Web |
|
|
103 | (5) |
|
Obtaining Web Music Files |
|
|
104 | (1) |
|
Organizing and Playing Web Music Files |
|
|
105 | (1) |
|
Creating and Storing Your Own Web Music Audio |
|
|
106 | (2) |
|
Working with Streamed Media |
|
|
108 | (1) |
|
Streaming Audio in Action |
|
|
108 | (1) |
|
Preparing Your Computer for Digital Audio Recording |
|
|
109 | (1) |
|
|
|
109 | (1) |
|
|
|
110 | (1) |
|
Using Digital Audio Editing Software |
|
|
110 | (17) |
|
What Is Digital Audio Editing Software? |
|
|
110 | (1) |
|
Basic Capture and Display of Digital Audio Editing Software |
|
|
111 | (1) |
|
Basic Editing and File Management |
|
|
112 | (2) |
|
Advanced Editing and File Management |
|
|
114 | (4) |
|
|
|
118 | (3) |
|
Advanced Effects Processing |
|
|
121 | (4) |
|
Plug-in Support for Digital Audio Editors |
|
|
125 | (2) |
|
Module 10 Building a No-Frills Digital Audio Workstation |
|
|
127 | (16) |
|
|
|
127 | (1) |
|
Basic Digital Audio Hardware: ADCs and DACs |
|
|
128 | (3) |
|
|
|
128 | (2) |
|
Input and Output: Connecting to the Outside World |
|
|
130 | (1) |
|
Sound Drivers and Latency: Who's in Charge Here? |
|
|
131 | (1) |
|
Sorting Out Plugs and Jacks |
|
|
132 | (2) |
|
Adding a Mixer and Performance Options with EMT-3 |
|
|
134 | (3) |
|
|
|
136 | (1) |
|
|
|
137 | (1) |
|
|
|
137 | (2) |
|
Storage Devices for Digital Audio Work |
|
|
139 | (1) |
|
|
|
140 | (1) |
|
|
|
140 | (1) |
|
|
|
140 | (3) |
|
VIEWPORT IV Doing More with Digital Audio |
|
|
143 | (70) |
|
|
|
143 | (1) |
|
|
|
143 | (1) |
|
Music Technology in Practice |
|
|
144 | (3) |
|
|
|
144 | (1) |
|
|
|
144 | (2) |
|
|
|
146 | (1) |
|
Module 11 Sonic Realism: MPEG, Surround Sound, and Laser Discs |
|
|
147 | (20) |
|
Multichannel Digital Audio Formats |
|
|
147 | (8) |
|
|
|
148 | (4) |
|
Surround-Sound Audio Formats |
|
|
152 | (3) |
|
CD and DVD Laser Disc Formats |
|
|
155 | (12) |
|
General Characteristics of CD and DVD Laser Discs |
|
|
155 | (3) |
|
Compact Laser Disc Playables and Recordables |
|
|
158 | (3) |
|
Digital Versatile Discs (DVDs) |
|
|
161 | (6) |
|
Module 12 Software for Multiple Tracks and Channels |
|
|
167 | (30) |
|
|
|
167 | (3) |
|
Types of Multiple-Track Software |
|
|
167 | (2) |
|
|
|
169 | (1) |
|
Effects, Inserts, and Buses |
|
|
169 | (1) |
|
Preparing Your Computer for Digital Audio and MIDI Input and Output |
|
|
170 | (1) |
|
|
|
170 | (1) |
|
|
|
170 | (1) |
|
Recording, Editing, and Using Built-In Effects |
|
|
171 | (8) |
|
|
|
172 | (1) |
|
|
|
173 | (3) |
|
|
|
176 | (3) |
|
|
|
179 | (4) |
|
|
|
179 | (1) |
|
How Plug-Ins Are Called into Action |
|
|
179 | (1) |
|
Overview of Effects Plug-Ins |
|
|
180 | (3) |
|
|
|
183 | (7) |
|
|
|
184 | (1) |
|
The ACID Scene and Looping Software |
|
|
184 | (3) |
|
|
|
187 | (3) |
|
Mixing, Mastering, and Distributing |
|
|
190 | (7) |
|
Mixing and Mastering: Really the Same Thing? |
|
|
190 | (1) |
|
Working with Mixing and Mastering |
|
|
190 | (1) |
|
Tips for Mixing and Mastering |
|
|
191 | (1) |
|
Mixing with Surround Sound |
|
|
192 | (1) |
|
|
|
193 | (4) |
|
Module 13 Hardware for Multichannel Digital Audio |
|
|
197 | (16) |
|
IPOS Model for Multichannel Digital Audio |
|
|
197 | (1) |
|
Superheroes: The DSP Chips |
|
|
198 | (1) |
|
One-on-One with Digital: S/PDIF, AES/EBU, ADAT, Firewire, and USB |
|
|
199 | (2) |
|
S/PDIF and AES/EBU: Close Cousins |
|
|
199 | (1) |
|
|
|
200 | (1) |
|
EMT Digital Audio Workstation Goes Multichannel |
|
|
201 | (5) |
|
Expanding to Multichannel Digital Sound |
|
|
202 | (3) |
|
Moving up to Surround Sound |
|
|
205 | (1) |
|
Recording and Playback in the Digital Realm |
|
|
206 | (7) |
|
CD and DVD Recordable Drives |
|
|
207 | (1) |
|
|
|
207 | (1) |
|
|
|
207 | (1) |
|
Stand-Alone Digital Recorders |
|
|
208 | (3) |
|
Surround-Sound Amplifiers and Speakers |
|
|
211 | (2) |
|
VIEWPORT V Music Sequencing and MIDI Basics |
|
|
213 | (56) |
|
|
|
213 | (1) |
|
|
|
213 | (1) |
|
Music Technology in Practice |
|
|
214 | (2) |
|
|
|
214 | (1) |
|
|
|
215 | (1) |
|
|
|
216 | (13) |
|
|
|
217 | (1) |
|
MIDI Performance Language |
|
|
218 | (3) |
|
|
|
219 | (1) |
|
|
|
220 | (1) |
|
|
|
221 | (3) |
|
Storing and Exchanging MIDI Files |
|
|
224 | (1) |
|
Experiencing MIDI Software and Hardware |
|
|
225 | (4) |
|
Module 15 Software Techniques for MIDI Sequencing |
|
|
229 | (21) |
|
Basic Design of Sequencing Software |
|
|
230 | (3) |
|
What Does Sequencing Software Do? |
|
|
230 | (3) |
|
Basics of Using Sequencers with MIDI Data |
|
|
233 | (10) |
|
|
|
234 | (3) |
|
|
|
237 | (2) |
|
Editing and Saving Sequences |
|
|
239 | (4) |
|
Plug-Ins: Applying MIDI Effects and Software-Based Instruments |
|
|
243 | (1) |
|
|
|
243 | (1) |
|
|
|
243 | (1) |
|
|
|
244 | (4) |
|
Basic Entry and Data Representation |
|
|
245 | (1) |
|
|
|
245 | (1) |
|
|
|
246 | (2) |
|
|
|
248 | (2) |
|
|
|
248 | (1) |
|
Mixed Data (MIDI/Digital Audio) |
|
|
249 | (1) |
|
Module 16 MIDI Hardware: Interfaces, Keyboards, and Sound Modules |
|
|
250 | (19) |
|
|
|
251 | (4) |
|
|
|
251 | (1) |
|
MIDI Networks: Physical and Virtual |
|
|
252 | (2) |
|
MIDI THRUs, Mergers, and Patchbays |
|
|
254 | (1) |
|
|
|
254 | (1) |
|
Basic MIDI Keyboard Controllers and Sound Modules |
|
|
255 | (4) |
|
|
|
255 | (3) |
|
|
|
258 | (1) |
|
|
|
259 | (4) |
|
|
|
260 | (1) |
|
|
|
261 | (1) |
|
|
|
262 | (1) |
|
Sound Generation and Drum Kits, Sample Playing, and Real-Time Sampling |
|
|
263 | (1) |
|
|
|
264 | (1) |
|
Synthesis and Digital Effects |
|
|
264 | (2) |
|
|
|
266 | (1) |
|
Digital Expansion and Connections |
|
|
267 | (1) |
|
Workstations---In Conclusion |
|
|
268 | (1) |
|
VIEWPORT VI Doing More with MIDI and Beyond |
|
|
269 | (62) |
|
|
|
269 | (1) |
|
|
|
269 | (1) |
|
Music Technology in Practice |
|
|
270 | (2) |
|
|
|
270 | (1) |
|
|
|
271 | (1) |
|
Module 17 Adventures in Sound Shaping and Synthesis |
|
|
272 | (39) |
|
Digital Audio Workstation (DAW) Software |
|
|
272 | (21) |
|
|
|
273 | (6) |
|
|
|
279 | (5) |
|
|
|
284 | (3) |
|
Mixing and Mastering with DAW Software |
|
|
287 | (6) |
|
Specialized Plug-In Samplers, Synthesizers, and Virtual Instruments |
|
|
293 | (11) |
|
How Specialized Plug-Ins Are Used |
|
|
298 | (1) |
|
|
|
298 | (2) |
|
|
|
300 | (3) |
|
Synthesizer/Sampler Combinations |
|
|
303 | (1) |
|
``All-in-One'' Virtual Studios |
|
|
304 | (4) |
|
|
|
304 | (3) |
|
|
|
307 | (1) |
|
The Future of ``All-in-One'' Virtual Studios |
|
|
308 | (1) |
|
|
|
308 | (3) |
|
|
|
308 | (1) |
|
Other Programming Approaches |
|
|
309 | (2) |
|
Module 18 Extending MIDI: Controllers, SoundFonts, and Timing |
|
|
311 | (20) |
|
Controller Cornucopia: Drums, Guitars, Winds, and More |
|
|
311 | (7) |
|
|
|
312 | (2) |
|
Guitar and String Controllers |
|
|
314 | (2) |
|
|
|
316 | (1) |
|
|
|
316 | (1) |
|
Mind-Expanding MIDI Controllers |
|
|
317 | (1) |
|
New Modes of Instrument Expression |
|
|
318 | (2) |
|
Integrating MIDI and Digital Audio |
|
|
320 | (3) |
|
|
|
321 | (2) |
|
Subjective Factors for MIDI Controllers |
|
|
323 | (1) |
|
Enhancing the MIDI Sound Palette: GS, XG, SoundFonts, and DLS |
|
|
323 | (2) |
|
|
|
324 | (1) |
|
MIDI Down-Loadable Sounds (DLS) |
|
|
324 | (1) |
|
MIDI and Audio Timing: SMPTE, Word Clock, mLAN, and More |
|
|
325 | (6) |
|
Who's Conducting This Group? |
|
|
325 | (1) |
|
|
|
326 | (2) |
|
Keeping the MIDI Time: MIDI Time Codes |
|
|
328 | (1) |
|
ADAT, Word Clock, and Digidesign Sync |
|
|
328 | (1) |
|
mLAN Music Network and Word Clock |
|
|
329 | (2) |
|
VIEWPORT VII Music Notation |
|
|
331 | (72) |
|
|
|
331 | (1) |
|
|
|
331 | (1) |
|
Music Technology in Practice |
|
|
332 | (3) |
|
|
|
332 | (1) |
|
|
|
333 | (1) |
|
|
|
334 | (1) |
|
Module 19 Coding Systems for Music Notation and Performance |
|
|
335 | (22) |
|
How Is Notation Represented in a Computer? |
|
|
335 | (2) |
|
Data Structures for Performing and Display |
|
|
335 | (1) |
|
Translating between Performance and Display Data |
|
|
336 | (1) |
|
|
|
337 | (2) |
|
Tour of Computer Music-Coding Systems |
|
|
339 | (14) |
|
Pre-1950s: Mechanical Music Coding |
|
|
339 | (2) |
|
1950s to 1960s: Notation to Feed the First Computer Music Synthesizers |
|
|
341 | (1) |
|
Mid-1960s to Mid-1970s: Friendlier Text-Based Music Coding |
|
|
341 | (3) |
|
1970s to Early 1980s: Experimentation and Graphic Display of Notation |
|
|
344 | (1) |
|
Early 1980s: Personal Computers and Consumer Music Systems |
|
|
345 | (1) |
|
Mid-1980s: The Birth of Desktop Music Publishing |
|
|
346 | (1) |
|
Late 1980s and 1990s: Intelligent Rule-Based Music-Coding Systems |
|
|
347 | (1) |
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1990s: Seeking Interchangeable Notation-Coding Systems |
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348 | (3) |
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2000s: Web-Based Notation-Coding Systems |
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351 | (2) |
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353 | (2) |
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Bitmapped Versus Outline Fonts |
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354 | (1) |
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Coding Music-Font Symbols |
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354 | (1) |
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355 | (1) |
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Is WYPWYP Music Software Possible? |
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355 | (2) |
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Module 20 Software for Music Notation |
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357 | (40) |
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Content and Context: What Do You Need? |
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357 | (3) |
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Basic Operational Features |
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360 | (8) |
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360 | (1) |
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361 | (4) |
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365 | (1) |
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365 | (1) |
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Playback, Printing, and Distribution |
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366 | (2) |
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Note Entry and Basic Score Design |
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368 | (8) |
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368 | (5) |
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373 | (1) |
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Other Basic Features for Score Design |
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374 | (2) |
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376 | (12) |
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379 | (1) |
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Transposition and Automatic Arrangements |
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380 | (1) |
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381 | (4) |
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385 | (3) |
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388 | (6) |
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388 | (3) |
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391 | (2) |
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393 | (1) |
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394 | (3) |
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395 | (1) |
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395 | (1) |
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395 | (1) |
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396 | (1) |
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Module 21 Notation Hardware: Input Devices, Scanners, and OMR |
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397 | (6) |
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Input Devices for Music Notation |
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397 | (3) |
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Text and Key Codes from the Computer Keyboard |
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397 | (2) |
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Graphic Palettes and a Mouse |
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399 | (1) |
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399 | (1) |
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400 | (1) |
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400 | (3) |
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Optical Music Recognition (OMR) |
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400 | (1) |
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The Mechanics of a Scanner |
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401 | (2) |
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VIEWPORT VIII Computer-Aided Instruction in Music |
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403 | (42) |
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403 | (1) |
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403 | (1) |
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Music Technolog in Practice |
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404 | (2) |
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404 | (1) |
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405 | (1) |
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Module 22 Music Software for Knowledge and Skill Development |
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406 | (20) |
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406 | (2) |
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Categories of CAI Software: Approach and Content |
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408 | (3) |
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409 | (1) |
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409 | (1) |
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410 | (1) |
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410 | (1) |
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410 | (1) |
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410 | (1) |
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411 | (1) |
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Examples of Knowledge and Skill-Development Software |
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411 | (15) |
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Beginning-Skills Software for Knowledge and Skill Development |
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411 | (2) |
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Drill-and-Practice Software Examples |
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413 | (2) |
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Flexible-Practice Software Examples |
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415 | (5) |
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420 | (3) |
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423 | (3) |
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Module 23 New Directions in Music-Instruction Software |
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426 | (19) |
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Examples of New Directions in Music-Instruction Software |
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426 | (16) |
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Exploratory/Creative-Software Examples |
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426 | (8) |
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Teacher-Resource Software Examples |
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434 | (3) |
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Internet-Based Software Examples |
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437 | (5) |
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What to Choose: A Matter of Content and Need |
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442 | (1) |
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Software from Past Viewports and CAI |
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443 | (2) |
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VIEWPORT XI Putting It All Together |
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445 | (4) |
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Projects and Selected Readings |
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445 | (1) |
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Expanding Your Skills and Creative Urge |
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445 | (2) |
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447 | (2) |
| Appendix A: Selected Readings by Viewport |
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449 | (4) |
| Appendix B: EMT Workstation Equipment Codes |
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453 | (2) |
| Index |
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455 | |
