First Published in 1994. The contributions to this collection have been selected to define a range of interests from the technical, aesthetic, cognitive and compositional spheres. The book addresses the continuing need for musicologists, psychologists, composers and listeners to enter into a creative dialogue with designers and builders, who are usually programmers in the contemporary world. The collection as a whole will help to demonstrate the great potential for exchange between the multidisciplinary approaches to music.

20th-century technology strongly influenced the manner in which composers write music. With faster computers and more computational power it became possible to create, synthesize, and analyze sounds. Many composers showed an interest in this technology and its musical applications. By focusing on timbre, they changed the way music was written. This thesis concerns the development of new compositional techniques that came from experimenting with technology, specifically with computers capable of doing sound analysis and synthesis. It includes a brief historical overview of composers working with timbre, followed by an analysis of my own work and a description of the software tools I designed for two of my compositions, Estudio electrónico para ensamble de cámara and Una calle de v́ortices. Electronic music techniques such as frequency modulation, granular synthesis, and the Fast Fourier Transform, served as a metaphor in the composition of the orchestral Estudio, and were employed directly in Calle. By combining the use of computers, improvisation, and traditional composition techniques in my musical work, I intended to encompass the three elements of the ICIT program.

Since the inception of electroacoustic music in 1948, much has been written about technical developments. This book is one of the first to examine aesthetic issues central to this rapidly developing genre. It brings together composers from leading academic departments and studios in Britain, the United States, Canada and Paris with a wide range of approaches and opinions, resulting in a study which is likely to have a marked impact on current debates on the future of electroacoustic music. The book is divided into three sections. The first, Culture and Language, considers the relationship between music and the listener's perception and expectation. Materials and Lanugage looks at the types of materials available to composers and the way in which the internal structure of the sound can have implications for the overall structure of a piece. The final section, The Influence of New Technology, considers the relationship between computer systems and the music they are helping to create.

Landmark book hailed for exceptionally clear, delightfully readable explication of everything acoustically important to music-making. Includes over 300 illustrations. Examples, experiments, and questions conclude each chapter.

This volume documents the 19th edition of the biannual "International Association for the Study of Popular Music". In focus of the conference were present and future developments. For example, the diminishing income potential for musicians as well as the recording industry as a whole, concurrent with the decreasing relevance of popular music in youth culture. This is where computer games and social media come to the forefront. At the same time, the research of popular music has emancipated itself from its initial outsider.

Drawing on recent ideas that explore new environments and the changing situations of composition and performance, Simon Emmerson provides a significant contribution to the study of contemporary music, bridging history, aesthetics and the ideas behind evolving performance practices. Whether created in a studio or performed on stage, how does electronic music reflect what is live and living? What is it to perform 'live' in the age of the laptop? Many performer-composers draw upon a 'library' of materials but others refuse to abandon traditionally 'created and structured' electroacoustic work. Lying behind this maelstrom of activity is the perennial relationship to 'theory', that is, ideas, principles and practices that somehow lie behind composers' and performers' actions. The relationship of the body performing to the spaces around has also undergone a revolution as the source of sound production has shifted to the loudspeaker. Emmerson considers these issues in the framework of our increasingly 'acousmatic' world in which we cannot see the source of the sounds we hear.

New to this second edition are the following: evolutionary computing and its relevance to sound design, PSOLA techniques, granular and pulsar synthesis, artificial intelligence, humanoid singing and the use of supercomputers in sound synthesis.