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210123 ||| eng |
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|a 9781136120930
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|a 0240515676
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|a 1136120939
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4 |
|a MT56
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| 100 |
1 |
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|a Miranda, Eduardo Reck
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| 245 |
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|a Composing music with computers
|c Eduardo Reck Miranda
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| 250 |
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|a 1st ed
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| 260 |
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|a New York, NY
|b Routledge
|c 2014
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| 300 |
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|a 1 volume
|b illustrations
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| 505 |
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|a Includes bibliographical references and index
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|a 2.9 The legacy of formalised musicChapter 3. Probabilities, grammars and automata; 3.1 Probabilities; 3.2 Probability tables; 3.3 Markov chains; 3.4 Formal grammars; 3.5 Finite state automata; 3.6 Related software on the accompanying CD-ROM; Chapter 4. Iterative algorithms: chaos and fractals; 4.1 Iterative processes; 4.2 Fractal geometry; 4.3 Related software on the accompanying CD-ROM; Chapter 5. Neural computation and music; 5.1 Thinking music aloud; 5.2 Artificial neural networks; 5.3 Musical networks; 5.4 Related software on the accompanying CD-ROM
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|a 8.6 Grammars and constraints: Bol Processor8.7 Aleatory music and probabilities: Texture; 8.8 Number theory: MusiNum; 8.9 Iterative algorithms: a Music Generator; 8.10 Fractals: FractMus; 8.11 Cellular automata: CAMUS; 8.12 Genetic algorithms: Vox Populi; 8.13 Selective automata: Harmony Seeker; 8.14 Brain interface: IBVA system; 8.15 Algorithmic but live: M; Epilogue; Appendix 1. Excerpt from J. S. Bach's Chorale BWV; Appendix 2. Musical clip; Appendix 3. Formant chart; Appendix 4. A primer in Lisp programming; References; CD-ROM instructions; Index
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|a Cover; Copyright Page; Contents; Series introduction; Foreword; Preface; Chapter 1. Computer music: facing the facts; 1.1 Abstraction boundaries; 1.2 Time-domain hierarchies; 1.3 Approaching composition; 1.4 Cognitive archetypes; 1.5 Concluding remarks; Chapter 2. Preparing the ground; 2.1 Elementary discrete mathematics; 2.2 Fundamentals of set theory; 2.3 Basics of logic; 2.4 Introduction to matrices; 2.5 The basics of formal grammars; 2.6 Brief introduction to probabilities; 2.7 A primer in computer programming; 2.8 The legacy of The Second Viennese School
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|a Chapter 6. Evolutionary music: breaking new ground6.1 Cellular automata; 6.2 Genetic algorithms; 6.3 Adaptive musical games; 6.4 Evolving rhythmic forms; 6.5 Related software on the accompanying CD-ROM; Chapter 7. Case studies; 7.1 From content to form; 7.2 From form to content; 7.3 Phonetic grounding; 7.4 Final remarks; Chapter 8. Music composition software on the accompanying CD-ROM; 8.1 A programming language for algorithmic composition. Nyquist; 8.2 Visual programming: OpenMusic; 8.3 Intelligent riff blocks: Music Sketcher; 8.4 Hybrid approach: Tangent; 8.5 Internet: the SSEYO Koan system
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| 653 |
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|a Composition (Musique) par ordinateur
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| 653 |
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|a Computer composition (Music) / fast
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| 653 |
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|a Computer composition (Music)
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| 041 |
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|a eng
|2 ISO 639-2
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| 989 |
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|b OREILLY
|a O'Reilly
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| 490 |
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|a Music technology series
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| 776 |
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|z 9780240515670
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| 856 |
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|u https://learning.oreilly.com/library/view/~/9780240515670/?ar
|x Verlag
|3 Volltext
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| 082 |
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|a 781.3/4
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|a Focuses on the role of the computer as a generative tool for music composition. Miranda introduces a number of computer music composition techniques ranging from probabilities, formal grammars and fractals, to genetic algorithms, cellular automata and neural computation. Anyone wishing to use the computer as a companion to create music will find this book a valuable resource. As a comprehensive guide with full explanations of technical terms, it is suitable for students, professionals and enthusiasts alike.The accompanying CD-ROM contains examples, complementary tutorials and a number
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