Software development for both compositional systems and computer graphics has been extensive in the computer music field. Compositional systems employ different techniques in supporting the global strategies of composers, and they require alphanumeric input. Programs in computer graphics have been concerned primarily with the representation of common music notation. A System for Interactive Music Composition Through Computer Graphics was developed to provide a composer with an interactive, compositional, graphics environment.Musical constructs are not depicted in the system through common music notation, but through line-segment graphs. Since music is a temporal art, any musical parameter can be represented as a function of time. The process of visually/aurally perceiving structure is enhanced by using graphs instead of strings or tables of numbers as traditionally used in computer music. There are also no notational restrictions on frequency and rhythm like those encountered with common music notation. The system provides a way for the composer to organize the large amount of data needed in computer music composition.There are visual transformations in computer graphics which correlate to aural transformations in music. Algorithms for translation, scaling, and rotation support the musical transformations of transposition, augmentation, diminution, inversion, retrograde, and retrograde-inversion. The windowing algorithm is used throughout the system for inserting and extracting structures. This algorithm is also used in editing a portion of a structure in which that section is displayed on the graph for a finer level of detail. Structures can be created through entering points interactively, generating transformations of an existing structure, realizing a statistical distribution, or extracting a section from an existing structure. Editing possibilities include inserting or deleting points, lines, and curves, inserting one structure within another, or generating transformations of one structure within each line segment of another. These options help make the system both efficient and flexible.When the composer becomes familiar with the system, a large amount of data can be generated in a short time. It is a very powerful tool for organizing and manipulating musical constructs. The system can be used with relative ease by beginning as well as advanced composers.

No description available.

D.M.A. final project--Department of Music, Stanford University, 1999. / For sampled and computer modified violin sounds, violoncello with microphone (or electronic violoncello), and piano with microphone. Includes abstract and notes on instruments and equipment, compositional and technical processes, and CLM (Common Lisp Music).

Thesis (M.A.)--University of Rochester, 1966.

Thesis (M.M.)--Ball State University, 2009. / Title from PDF t.p. (viewed on July 01, 2010). Creative project (M.M.), 3 hrs. Includes bibliographical references (p. 14).

Thesis (D.M.A.)--University of North Texas, 2003. / For dancer and computer. Includes bibliographical references.

Most musical instruments have undergone evolution over several hundred years. The pursuit of excellence in instrument building helps instruments in meticulously translating musicians's movement and gesture into sound. Musicians spend much of their time perfecting their movements and gestures to achieve the desired sound and expression. Digital technologies brought new perspective and possibilities to this performer-instrument relationship by detaching the tight relationship between gesture used and sound produced. This relationship can then be re-created with almost no restrictions, and composers have freedom to design their own controller or electronic instrument. The intention of this thesis is to further the development of gestural controller usage by understanding the evolution that has lead to the current trends in their use; how this evolution may inform newer development, and creating two new interactive systems for informed by the above. It also consists of a discussion of problems and challenges in interface building in terms of art and design. To demonstrate proficiency in traditional compositional genres, the first half of this dissertation consists of a composition portfolio. The second part of this dissertation is an investigation into the use of gestures and controllers in interactive electroacoustic music.

The dissertation is recorded computer music. It has a duration of fourteen minutes and fifty seven seconds. The source sound material is a reading of a sonnet of the same name by thirteenth century Sienese poet Cecco Angiolieri. It utilizes Linear Predictive Coding and Short-time-fourier synthesis in addition to postprocessing by spatialization and digital filtering. The discussion of the piece includes an explanation of the synthesis techniques, the pitch manipulation algorithms and the programs written by the composer to generate computer scores based on these algorithms, and finally how the individual musical events were generated and mixed together. The computer scores and programs used to generated these scores are provided after the discussion.

First part for bass flute with b-foot, and computer; 2nd part for metal percussion (vibraphone, glockenspiel, crotales) and computer; 3rd part for clarinet (in A and B-flat) and computer. Includes specifications for computer. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 48-50).

Real-time sound synthesis means that the calculation and output of each sound sample for a channel of audio information must be completed within a sample period. At a broadcasting standard, a sampling rate of 32,000 Hz, the maximum period available is 31.25 μsec. Such requirements demand a large amount of data processing power. An effective solution for this problem is a multi-processor platform; a parallel and distributed processing system. The suitability of the MIDI [Music Instrument Digital Interface] standard, published in 1983, as a controller for real-time applications is examined. Many musicians have expressed doubts on the decade old standard's ability for real-time performance. These have been investigated by measuring timing in various musical gestures, and by comparing these with the subjective characteristics of human perception. An implementation and its optimisation of real-time additive synthesis programs on a multi-transputer network are described. A prototype 81-polyphonic-note- organ configuration was implemented. By devising and deploying monitoring processes, the network's performance was measured and enhanced, leading to an efficient usage; the 88-note configuration. Since 88 simultaneous notes are rarely necessary in most performances, a scheduling program for dynamic note allocation was then introduced to achieve further efficiency gains. Considering calculation redundancies still further, a multi-sampling rate approach was applied as a further step to achieve an optimal performance. The theories underlining sound granulation, as a means of constructing complex sounds from grains, and the real-time implementation of this technique are outlined. The idea of sound granulation is quite similar to the quantum-wave theory, "acoustic quanta". Despite the conceptual simplicity, the signal processing requirements set tough demands, providing a challenge for this audio synthesis engine. Three issues arising from the results of the implementations above are discussed; the efficiency of the applications implemented, provisions for new processors and an optimal network architecture for sound synthesis.