Computer Music: Synthesis, Composition, and Performance by Charles Dodge, Thomas A. Jerse

By Charles Dodge, Thomas A. Jerse

This article displays the present country of desktop expertise and song composition. The authors provide transparent, useful overviews of application languages, real-time synthesizers, electronic filtering, man made intelligence, and lots more and plenty extra.

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Extra resources for Computer Music: Synthesis, Composition, and Performance

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More advanced operating systems provide for multitasking. This feature allows more than one system user and also permits individual users to run more than one program simultaneously. In these cases, the OS must serve as an arbiter between the programs, allocating computing resources with the aim of achieving the most effi­ cient system operation possible. In addition, the OS must ensure that one program does not disturb another. There are several approaches to the handling of multiple pro­ grams-the most popular is task switching.

One of the score preprocessors made in the late 1970s and still in use today is Score 11. Originally made for score input to the Music 11 language (a direct predecessor of Csound), Score 11 provides input to the Music N family of lan­ guages. 1. Common Music,15 created by Heinrich Taube, is a truly general computer language for music composition. Common Music offers the user a broad range of compositional input options and then the choice of exactly in what form to present the output. 1. 22 COMPUTER M USIC MIDI code to drive external MIDI devices.

To change an analog signal into a form suitable for use by a digital computer, the signal must be converted into numbers. Two types of I/O devices link the digital computer with the analog world. These types are distinguished by the direction of trans­ formation. Analog-to-digital (AID) converters transform voltages into numbers, and dig­ ital-to-analog (D/A) converters transform numbers into voltages. The characteristics and limitations of data converters will be described in more detail in chapter 3, but for the purposes of this section they can be simply thought of as devices that enable a sound to be changed into a stream of numbers or vice versa.

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