The establishment of the Musical Instrument Digital Interface (MIDI) in the late 1980s allowed hobbyists and musicians to experiment with sound control in ways that previously had been possible only in research studios. MIDI is now the most prevalent representation of music, but what it represents is based on hardware control protocols for sound synthesis. Programs that support sound input for graphics output necessarily span a gamut of representational categories. What is most likely to be lost is any sense of the musical work. Thus, for those involved in pedagogy, analysis, simulation, notation, and music theory, the nature of the representation matters a great deal. An understanding of the data requirements of different applications is fundamental to the creation of interchange codes. The contributors to Beyond MIDI present a broad range of schemes, illustrating a wide variety of approaches to music representation. Generally, each chapter describes the history and intended purposes of the code, a description of the representation of the primary attributes of music (pitch, duration, articulation, ornamentation, dynamics, and timbre), a description of the file organization, some mention of existing data in the format, resources for further information, and at least one encoded example. The book also shows how intended applications influence the kinds of musical information that are encoded. Contributors David Bainbridge, Ulf Berggren, Roger D. Boyle, Donald Byrd, David Cooper, Edmund Correia, Jr., David Cottle, Tim Crawford, J. Stephen Dydo, Brent A. Field, Roger Firman, John Gibson, Cindy Grande, Lippold Haken, Thomas Hall, David Halperin, Philip Hazel, Walter B. Hewlett, John Howard, David Huron, Werner Icking, David Jaffe, Bettye Krolick, Max V. Mathews, Toshiaki Matsushima, Steven R. Newcomb, Kia-Chuan Ng, Kjell E. Nordli, Sile O'Modhrain, Perry Roland, Helmut Schaffrath, Bill Schottstaedt, Eleanor Selfrdige-Field, Peer Sitter, Donald Sloan, Leland Smith, Andranick Tanguiane, Lynn M. Trowbridge, Frans Wiering

Virtual environments such as games and animated and "real" movies require realistic sound effects that can be integrated by computer synthesis. The book emphasizes physical modeling of sound and focuses on real-world interactive sound effects. It is intended for game developers, graphics programmers, developers of virtual reality systems and traini

Sound & Music Projects for Eurorack & Beyond explores the intersection of music, electronics, and computer science and provides a practical path for musicians and sound designers to envision and create custom electronic instruments. The book explores these concepts in the context of Eurorack, a popular framework for mounting and interconnecting electronic instruments.

"This book offers a different approach to music by focusing on the information organization and the development of XML-based language, presenting a new set of tools for practical implementations, and a new investigation into the theory of music"--Provided by publisher.

Written by a composer and a musician, The Contemporary Violin offers a unique menu of avant-garde musical possibilities that both performers and composers will enjoy exploring. Allen and Patricia Strange's comprehensive study critically examines extended performance techniques found in the violin literature of the latter half of the twentieth century. Drawing from both published and private manuscripts, the authors present extended performance options for the acoustic, modified, electric, and MIDI violin, with signal processing and computer-related techniques, and include more than 400 notated examples. The authors begin with bowing techniques and proceed systematically through other aspects of string playing, including MIDI technologies. Their correspondence and research with many performers and composers, the book's extensive score and text bibliography, and the discography of more than 130 recordings make The Contemporary Violin a valuable contemporary music reference and guide. An additional benefit is its listing of Internet resources that will keep the reader up to date with recent developments in contemporary performance and composition. First published by UC Press, 2001.

Beyond Sound is a must-read for anyone who loves music technology and wants to build a career in this competitive, fast-paced world. Author Scott L. Phillips draws on his seventeen-year career as a technology trainer and educator, and his extensive network of music technology professionals, to present an intimate view of the exciting world of music technology. The book offers an in-depth consideration of music technology education, including looks at specific programs and a clear explanation of different types of degrees. Moreover, it provides practical guidance on career preparation, including how to get a great internship, how to land that first job, and how to make connections and move up in a variety of businesses from recording to television and film to video games. And Phillips brings stories from successful professionals, who share their experiences, advice, and suggestions.

The Reader's Guide to Music is designed to provide a useful single-volume guide to the ever-increasing number of English language book-length studies in music. Each entry consists of a bibliography of some 3-20 titles and an essay in which these titles are evaluated, by an expert in the field, in light of the history of writing and scholarship on the given topic. The more than 500 entries include not just writings on major composers in music history but also the genres in which they worked (from early chant to rock and roll) and topics important to the various disciplines of music scholarship (from aesthetics to gay/lesbian musicology).