Thesis (M. Phil.)--Hong Kong University of Science and Technology, 2002. / Includes bibliographical references (leaves 56-61). Also available in electronic version. Access restricted to campus users.

No description available.

The creative project was twofold: Firstly, a large high speed DEC-10 interactive computer, located at Ball State University, was programmed, using FORTRAN language. The program is to be used by music students in real-time, on-line interactive classroom situations via a special teletype terminal located in the classroom. Secondly, a D17B mini-computer, located in the Electronic Music Systems Studio at Ball State University, was programmed using quasi-octal machine language for on-line, real-time interaction in conjunction with the ARP-2500 music synthesizer located in the same studio. This capability provides an adjunct to other compositional tools already available to the composer in this studio.The principal thrust of the software programs in both of these contexts was the on-line and automatic manipulation, handling, editing and control of pitch sets during interactive conversation with a computer via teletype or synthesizer keyboard. / School of Music

Thesis (M.Phil.)--Hong Kong University of Science and Technology, 2005. / Includes bibliographical references (leaves 70-73). Also available in electronic version.

Thesis (M.Phil.)--Hong Kong University of Science and Technology, 2006. / Includes bibliographical references (leaves 83-85). Also available in electronic version.

No description available.

Microcomputer-based music synthesis hardware is being developed at North Texas State University (NTSU). The work described in this paper continues this effort to develop hardware designs for inexpensive, but good quality, sound synthesizers. In order to pursue their activities, researchers in computer assisted instruction in music theory, psychoacoustics, and music composition need quality sound sources. The ultimate goal of my research is to develop good quality sound synthesis hardware which can fill these needs economically. This paper explores three topics: 1) how a computer makes music--a short nontechnical description; 2) what has been done previously--a review of the literature; and 3) what factors bear on the quality of microcomputer-based systems, including encoding of musical passages, software development, and hardware design. These topics lead to the discussion of a particular sound synthesizer which the author has designed.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1981. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Includes bibliographical references (leaf 50). / Sound inherently has a spatial quality, an ability to be localized in three dimensions. This is the essence of 3-D, or spatial, sound. A system capable of recording sounds as digitized samples and playing them back in a localized fashion was developed in the course of this research. This sound system combines special hardware and interactive software to create a system more flexible and powerful than previous systems. The spatial qualities of 3-D sound contribute to man's ability to interact with sound as data. An application which capitalized on these qualities was developed, allowing the user to interact with 3-D sound in a spatial environment. This application, called the Spatial Audio Notemaker, was not unlike a bulletin board, where the paper notes were recorded messages and the bulletin board was the user's environment. Using the Spatial Audio Notemaker, exploration into the manipulation of 3-D sound and the necessary interaction (using voice and gesture) and feedback (both visual and audio) to aid in this manipulation was accomplished. / by Mark Aaron Vershel. / M.S.V.S.

Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 156-168).

Algorithms exist which will perform independent transformations on frequency or duration of a digital audio signal. These processes have different results different types of audio signals. A comparative study of granular and phase vocoder algorithms, implementation, and their respective effects on audio signals was made to determine which algorithm is best suited to a particular type of audio signal.