----- Original Message -----

From: DavidW

To: csound@lists.bath.ac.uk

Sent: Thursday, October 01, 2009 4:19 PM

Subject: [Csnd] [OT] The Oxford Handbook of Computer Music

Hello all.

Some of you may have heard of the recent release of this book. It has chapters by people some of whom will be known to you. I haven't seen any published listing, so here is the chapter breakdown. Unfortunately it is quite expensive: a recommendation to your library, perhaps...

David

The Oxford Handbook of Computer Music RT Dean (Ed)

Table of Contents

Chapter 1)Introduction : The many futures of computer music. Roger T. Dean

Some histories of computer music and its technologies:

Chapter 2) A historical view of computer music technology. Douglas Keislar

Chapter 3) Early hardware and early ideas in computer music – their development and their current forms. Paul Doornbusch

Chapter 4) Sound synthesis using computers. Peter Manning 

The Music:

Chapter 5) Computational approaches to composition of notated instrumental music: Xenakis and the other pioneers. James Harley

Chapter 6) Envisaging improvisation in future computer music. Roger T. Dean

Sounding Out:

Chapter 7) Computer music: some reflections. Trevor Wishart

Chapter 8) Some notes on my electronic improvisation practice. Tim Perkis

Chapter 9) Combining the acoustic and the digital: music for instruments and computers or pre-recorded sound. Simon Emmerson

Creative and Performance Modes:

Chapter 10) Dancing the music: interactive dance and music. Wayne Siegel

Chapter 11) Gesture and morphology in laptop music performance. Garth Paine

Chapter 12) Sensor based musical Instruments and interactive music.  Atau Tanaka

Chapter 13) Spatialisation and computer music. Peter Lennox

Chapter 14) The voice in computer music and its relationship to place, identity and community. Hazel Smith

Chapter 15) Algorithmic synaesthesia. Noam Sagiv, Brunel University, UK, Freya Bailes and Roger T. Dean 

Chapter 16) An introduction to data sonification. David Worrall 

Chapter 17) Electronica. Nick Collins

Chapter 18) Generative algorithms for making music: emergence, evolution and ecosystems.  Jon McCormack, Alice Eldridge, Alan Dorin and Peter McIlwain

Cognition and Computation of Computer Music

Chapter 19) Computational modelling of music cognition and musical creativity. Geraint A. Wiggins, Marcus T. Pearce and Daniel Müllensiefen 

Chapter 20) Soundspotting: a new kind of process? Michael Casey

Sounding Out:

Chapter 21) Interactivity and improvisation. George E. Lewis

Chapter 22) From outside the window: electronic sound performance. Pauline Oliveros

Chapter 23) Empirical studies of computer sound. Freya Bailes and Roger T. Dean

Cultural and Educational Issues:

Chapter 24) Toward the gender ideal. Mary Simoni. 

Chapter 25) Sound-based music 4 all. Leigh Landy

Chapter 26) Framing learning perspectives in computer music education. Jøran Rudi and Palmyre Pierroux

Appendix:

Chapter 27) A chronology of computer music and related events. Paul Doornbusch 

___________________________________________

Dr David Worrall

experimental polymedia:  worrall.avatar.com.au

blog:                                      worrall.avatar.com.au/blog

sonification:                         sonification.com.au

trading education:              www.mindthemarkets.com.au

Thanks Victor. Perhaps of most interest will be comments on rel. betw.  
composition and sonification.

Douglas Keislar's overview chapter provides a useful intro to the  
historical place of csound. Ditto Peter Mannng's article.  In fact the  
index has references to all the other majors but csound takes the  
prize with:  "Csound 	- alternatives to"

Trevor Wishart's article refers to csound within CDP. I haven't kept  
up my subscription to CDP since the mid 90's, which prompts me to ask  
if anyone knows if the latest CDP(v5)  contains a recent csound (i.e  
python/library API) version or are all the functions still just single  
command-line/shell scriptable.?

David

On 02/10/2009, at 4:38 AM, victor wrote:

> Congrats on the chapter, David. Thanks for the indication.
>
> Victor
> ----- Original Message -----
> From: DavidW
> To: csound@lists.bath.ac.uk
> Sent: Thursday, October 01, 2009 4:19 PM
> Subject: [Csnd] [OT] The Oxford Handbook of Computer Music
>
> Hello all.
> Some of you may have heard of the recent release of this book. It  
> has chapters by people some of whom will be known to you. I haven't  
> seen any published listing, so here is the chapter breakdown.  
> Unfortunately it is quite expensive: a recommendation to your  
> library, perhaps...
> David
>
> The Oxford Handbook of Computer Music RT Dean (Ed)
> Table of Contents
> Chapter 1)Introduction : The many futures of computer music. Roger  
> T. Dean
> Some histories of computer music and its technologies:
> Chapter 2) A historical view of computer music technology. Douglas  
> Keislar
> Chapter 3) Early hardware and early ideas in computer music – their  
> development and their current forms. Paul Doornbusch
> Chapter 4) Sound synthesis using computers. Peter Manning
>
> The Music:
> Chapter 5) Computational approaches to composition of notated  
> instrumental music: Xenakis and the other pioneers. James Harley
> Chapter 6) Envisaging improvisation in future computer music. Roger  
> T. Dean
> Sounding Out:
> Chapter 7) Computer music: some reflections. Trevor Wishart
> Chapter 8) Some notes on my electronic improvisation practice. Tim  
> Perkis
> Chapter 9) Combining the acoustic and the digital: music for  
> instruments and computers or pre-recorded sound. Simon Emmerson
> Creative and Performance Modes:
> Chapter 10) Dancing the music: interactive dance and music. Wayne  
> Siegel
> Chapter 11) Gesture and morphology in laptop music performance.  
> Garth Paine
> Chapter 12) Sensor based musical Instruments and interactive music.   
> Atau Tanaka
> Chapter 13) Spatialisation and computer music. Peter Lennox
> Chapter 14) The voice in computer music and its relationship to  
> place, identity and community. Hazel Smith
> Chapter 15) Algorithmic synaesthesia. Noam Sagiv, Brunel University,  
> UK, Freya Bailes and Roger T. Dean
> Chapter 16) An introduction to data sonification. David Worrall
> Chapter 17) Electronica. Nick Collins
> Chapter 18) Generative algorithms for making music: emergence,  
> evolution and ecosystems.  Jon McCormack, Alice Eldridge, Alan Dorin  
> and Peter McIlwain
> Cognition and Computation of Computer Music
> Chapter 19) Computational modelling of music cognition and musical  
> creativity. Geraint A. Wiggins, Marcus T. Pearce and Daniel  
> Müllensiefen
> Chapter 20) Soundspotting: a new kind of process? Michael Casey
> Sounding Out:
> Chapter 21) Interactivity and improvisation. George E. Lewis
> Chapter 22) From outside the window: electronic sound performance.  
> Pauline Oliveros
> Chapter 23) Empirical studies of computer sound. Freya Bailes and  
> Roger T. Dean
> Cultural and Educational Issues:
> Chapter 24) Toward the gender ideal. Mary Simoni.
> Chapter 25) Sound-based music 4 all. Leigh Landy
> Chapter 26) Framing learning perspectives in computer music  
> education. Jøran Rudi and Palmyre Pierroux
> Appendix:
> Chapter 27) A chronology of computer music and related events. Paul  
> Doornbusch
>
> ___________________________________________
> Dr David Worrall
> experimental polymedia:  worrall.avatar.com.au
> blog:                                      worrall.avatar.com.au/blog
> sonification:                         sonification.com.au
> trading education:              www.mindthemarkets.com.au

On a lighter note I guess the editor had to use his middle initial  
otherwise people would mistake
him for the guy who did the album covers for Yes...  ;)

Victor
On 1 Oct 2009, at 22:41, DavidW wrote:

> Thanks Victor. Perhaps of most interest will be comments on rel.  
> betw. composition and sonification.
>
> Douglas Keislar's overview chapter provides a useful intro to the  
> historical place of csound. Ditto Peter Mannng's article.  In fact  
> the index has references to all the other majors but csound takes  
> the prize with:  "Csound 	- alternatives to"
>
> Trevor Wishart's article refers to csound within CDP. I haven't kept  
> up my subscription to CDP since the mid 90's, which prompts me to  
> ask if anyone knows if the latest CDP(v5)  contains a recent csound  
> (i.e python/library API) version or are all the functions still just  
> single command-line/shell scriptable.?
>
> David
>
> On 02/10/2009, at 4:38 AM, victor wrote:
>
>> Congrats on the chapter, David. Thanks for the indication.
>>
>> Victor
>> ----- Original Message -----
>> From: DavidW
>> To: csound@lists.bath.ac.uk
>> Sent: Thursday, October 01, 2009 4:19 PM
>> Subject: [Csnd] [OT] The Oxford Handbook of Computer Music
>>
>> Hello all.
>> Some of you may have heard of the recent release of this book. It  
>> has chapters by people some of whom will be known to you. I haven't  
>> seen any published listing, so here is the chapter breakdown.  
>> Unfortunately it is quite expensive: a recommendation to your  
>> library, perhaps...
>> David
>>
>> The Oxford Handbook of Computer Music RT Dean (Ed)
>> Table of Contents
>> Chapter 1)Introduction : The many futures of computer music. Roger  
>> T. Dean
>> Some histories of computer music and its technologies:
>> Chapter 2) A historical view of computer music technology. Douglas  
>> Keislar
>> Chapter 3) Early hardware and early ideas in computer music – their  
>> development and their current forms. Paul Doornbusch
>> Chapter 4) Sound synthesis using computers. Peter Manning
>>
>> The Music:
>> Chapter 5) Computational approaches to composition of notated  
>> instrumental music: Xenakis and the other pioneers. James Harley
>> Chapter 6) Envisaging improvisation in future computer music. Roger  
>> T. Dean
>> Sounding Out:
>> Chapter 7) Computer music: some reflections. Trevor Wishart
>> Chapter 8) Some notes on my electronic improvisation practice. Tim  
>> Perkis
>> Chapter 9) Combining the acoustic and the digital: music for  
>> instruments and computers or pre-recorded sound. Simon Emmerson
>> Creative and Performance Modes:
>> Chapter 10) Dancing the music: interactive dance and music. Wayne  
>> Siegel
>> Chapter 11) Gesture and morphology in laptop music performance.  
>> Garth Paine
>> Chapter 12) Sensor based musical Instruments and interactive  
>> music.  Atau Tanaka
>> Chapter 13) Spatialisation and computer music. Peter Lennox
>> Chapter 14) The voice in computer music and its relationship to  
>> place, identity and community. Hazel Smith
>> Chapter 15) Algorithmic synaesthesia. Noam Sagiv, Brunel  
>> University, UK, Freya Bailes and Roger T. Dean
>> Chapter 16) An introduction to data sonification. David Worrall
>> Chapter 17) Electronica. Nick Collins
>> Chapter 18) Generative algorithms for making music: emergence,  
>> evolution and ecosystems.  Jon McCormack, Alice Eldridge, Alan  
>> Dorin and Peter McIlwain
>> Cognition and Computation of Computer Music
>> Chapter 19) Computational modelling of music cognition and musical  
>> creativity. Geraint A. Wiggins, Marcus T. Pearce and Daniel  
>> Müllensiefen
>> Chapter 20) Soundspotting: a new kind of process? Michael Casey
>> Sounding Out:
>> Chapter 21) Interactivity and improvisation. George E. Lewis
>> Chapter 22) From outside the window: electronic sound performance.  
>> Pauline Oliveros
>> Chapter 23) Empirical studies of computer sound. Freya Bailes and  
>> Roger T. Dean
>> Cultural and Educational Issues:
>> Chapter 24) Toward the gender ideal. Mary Simoni.
>> Chapter 25) Sound-based music 4 all. Leigh Landy
>> Chapter 26) Framing learning perspectives in computer music  
>> education. Jøran Rudi and Palmyre Pierroux
>> Appendix:
>> Chapter 27) A chronology of computer music and related events. Paul  
>> Doornbusch
>>
>> ___________________________________________
>> Dr David Worrall
>> experimental polymedia:  worrall.avatar.com.au
>> blog:                                      worrall.avatar.com.au/blog
>> sonification:                         sonification.com.au
>> trading education:              www.mindthemarkets.com.au
>
>
>
> Send bugs reports to this list.
> To unsubscribe, send email sympa@lists.bath.ac.uk with body  
> "unsubscribe csound"

On 02/10/2009, at 8:00 AM, Victor Lazzarini wrote:

> On a lighter note I guess the editor had to use his middle initial  
> otherwise people would mistake
> him for the guy who did the album covers for Yes...  ;)
>
Yes, Yes.

:-)
D.

> Victor
> On 1 Oct 2009, at 22:41, DavidW wrote:
>
>> Thanks Victor. Perhaps of most interest will be comments on rel.  
>> betw. composition and sonification.
>>
>> Douglas Keislar's overview chapter provides a useful intro to the  
>> historical place of csound. Ditto Peter Mannng's article.  In fact  
>> the index has references to all the other majors but csound takes  
>> the prize with:  "Csound 	- alternatives to"
>>
>> Trevor Wishart's article refers to csound within CDP. I haven't  
>> kept up my subscription to CDP since the mid 90's, which prompts me  
>> to ask if anyone knows if the latest CDP(v5)  contains a recent  
>> csound (i.e python/library API) version or are all the functions  
>> still just single command-line/shell scriptable.?
>>
>> David
>>
>> On 02/10/2009, at 4:38 AM, victor wrote:
>>
>>> Congrats on the chapter, David. Thanks for the indication.
>>>
>>> Victor
>>> ----- Original Message -----
>>> From: DavidW
>>> To: csound@lists.bath.ac.uk
>>> Sent: Thursday, October 01, 2009 4:19 PM
>>> Subject: [Csnd] [OT] The Oxford Handbook of Computer Music
>>>
>>> Hello all.
>>> Some of you may have heard of the recent release of this book. It  
>>> has chapters by people some of whom will be known to you. I  
>>> haven't seen any published listing, so here is the chapter  
>>> breakdown. Unfortunately it is quite expensive: a recommendation  
>>> to your library, perhaps...
>>> David
>>>
>>> The Oxford Handbook of Computer Music RT Dean (Ed)
>>> Table of Contents
>>> Chapter 1)Introduction : The many futures of computer music. Roger  
>>> T. Dean
>>> Some histories of computer music and its technologies:
>>> Chapter 2) A historical view of computer music technology. Douglas  
>>> Keislar
>>> Chapter 3) Early hardware and early ideas in computer music –  
>>> their development and their current forms. Paul Doornbusch
>>> Chapter 4) Sound synthesis using computers. Peter Manning
>>>
>>> The Music:
>>> Chapter 5) Computational approaches to composition of notated  
>>> instrumental music: Xenakis and the other pioneers. James Harley
>>> Chapter 6) Envisaging improvisation in future computer music.  
>>> Roger T. Dean
>>> Sounding Out:
>>> Chapter 7) Computer music: some reflections. Trevor Wishart
>>> Chapter 8) Some notes on my electronic improvisation practice. Tim  
>>> Perkis
>>> Chapter 9) Combining the acoustic and the digital: music for  
>>> instruments and computers or pre-recorded sound. Simon Emmerson
>>> Creative and Performance Modes:
>>> Chapter 10) Dancing the music: interactive dance and music. Wayne  
>>> Siegel
>>> Chapter 11) Gesture and morphology in laptop music performance.  
>>> Garth Paine
>>> Chapter 12) Sensor based musical Instruments and interactive  
>>> music.  Atau Tanaka
>>> Chapter 13) Spatialisation and computer music. Peter Lennox
>>> Chapter 14) The voice in computer music and its relationship to  
>>> place, identity and community. Hazel Smith
>>> Chapter 15) Algorithmic synaesthesia. Noam Sagiv, Brunel  
>>> University, UK, Freya Bailes and Roger T. Dean
>>> Chapter 16) An introduction to data sonification. David Worrall
>>> Chapter 17) Electronica. Nick Collins
>>> Chapter 18) Generative algorithms for making music: emergence,  
>>> evolution and ecosystems.  Jon McCormack, Alice Eldridge, Alan  
>>> Dorin and Peter McIlwain
>>> Cognition and Computation of Computer Music
>>> Chapter 19) Computational modelling of music cognition and musical  
>>> creativity. Geraint A. Wiggins, Marcus T. Pearce and Daniel  
>>> Müllensiefen
>>> Chapter 20) Soundspotting: a new kind of process? Michael Casey
>>> Sounding Out:
>>> Chapter 21) Interactivity and improvisation. George E. Lewis
>>> Chapter 22) From outside the window: electronic sound performance.  
>>> Pauline Oliveros
>>> Chapter 23) Empirical studies of computer sound. Freya Bailes and  
>>> Roger T. Dean
>>> Cultural and Educational Issues:
>>> Chapter 24) Toward the gender ideal. Mary Simoni.
>>> Chapter 25) Sound-based music 4 all. Leigh Landy
>>> Chapter 26) Framing learning perspectives in computer music  
>>> education. Jøran Rudi and Palmyre Pierroux
>>> Appendix:
>>> Chapter 27) A chronology of computer music and related events.  
>>> Paul Doornbusch
>>>
>>> ___________________________________________
>>> Dr David Worrall
>>> experimental polymedia:  worrall.avatar.com.au
>>> blog:                                      worrall.avatar.com.au/ 
>>> blog
>>> sonification:                         sonification.com.au
>>> trading education:              www.mindthemarkets.com.au

DavidW wrote:
..
> 
> Trevor Wishart's article refers to csound within CDP. I haven't kept up 
> my subscription to CDP since the mid 90's, which prompts me to ask if 
> anyone knows if the latest CDP(v5)  contains a recent csound (i.e 
> python/library API) version or are all the functions still just single 
> command-line/shell scriptable.?
> 

The book is somewhat outside my budget, so may have to ask Trevor 
directly what he wrote! We supplied the then current Csound for both Mac 
and PC (Mac as macCsound) with the original v5 release (vintage 2005), 
but are generally simply referring users to the current releases online. 
I will ask Archer Endrich if he is adding any more recent version along 
with other updates.

Our relation to Csound is very much looser now than when we were 
building our own distribution including a standalone version of cscore. 
Trevor's program "remix" that generated Csound scores (or MIDI files) 
was replaced many years ago now by an even more elaborate program 
"texture" that reads and writes soundfiles directly, so we no longer 
have any Csound-oriented tools in the system.

May be able to give a better answer tomorrow.

Richard Dobson

Thanks for the clarification, Richard. Trevor's article is mainly  
about his techniques. Typically concise and punchy.
After referencing CDP, with acknowledgements, including to you of  
course, his only other reference is to his change of mind about GUIs,  
which he admits, in sympathy with many on this list, to be  
"temperamentally opposed to the idea". He mentioned three things that  
changed his mind: Growing pressure from other users, advent of Tk/Tcl,  
and a fellowship in Berlin that afforded the development of the Sound  
Loom interface. He concludes that section, saying "The graphic tool  
makes the underlying programs easy to use and to combine in rapid  
succession."
In total, not particularly convincing to me, except for fine editing.  
Give me an OO interpreted language API any day!

D.

On 02/10/2009, at 8:42 AM, Richard Dobson wrote:

> DavidW wrote:
> ..
>> Trevor Wishart's article refers to csound within CDP. I haven't  
>> kept up my subscription to CDP since the mid 90's, which prompts me  
>> to ask if anyone knows if the latest CDP(v5)  contains a recent  
>> csound (i.e python/library API) version or are all the functions  
>> still just single command-line/shell scriptable.?
>
> The book is somewhat outside my budget, so may have to ask Trevor  
> directly what he wrote! We supplied the then current Csound for both  
> Mac and PC (Mac as macCsound) with the original v5 release (vintage  
> 2005), but are generally simply referring users to the current  
> releases online. I will ask Archer Endrich if he is adding any more  
> recent version along with other updates.
>
> Our relation to Csound is very much looser now than when we were  
> building our own distribution including a standalone version of  
> cscore. Trevor's program "remix" that generated Csound scores (or  
> MIDI files) was replaced many years ago now by an even more  
> elaborate program "texture" that reads and writes soundfiles  
> directly, so we no longer have any Csound-oriented tools in the  
> system.
>
> May be able to give a better answer tomorrow.
>
> Richard Dobson
>
>
>
> Send bugs reports to this list.
> To unsubscribe, send email sympa@lists.bath.ac.uk with body  
> "unsubscribe csound"