Research Catalog

Title

Spectral music design : a computational approach / Victor Lazzarini.

Author

Lazzarini, Victor, 1969-

Publication

New York, NY : Oxford University Press, [2021]

Items in the Library & Off-site

Details

Description

xix, 488 pages : illustrations; 29 cm

Subject

• Computer music
• Computer music > Computer programs
• Spectral music
• Sound > Recording and reproducing > Digital techniques
• CSound (Computer program language)
• Python (Computer program language)

Bibliography (note)

• Includes bibliographical references (pages 475-482) and index.

Contents

Machine generated contents note: pt. I BACKGROUND -- 1. What is the Spectrum? -- 1.1. Functions and Signals -- 1.1.1. Functions of Time -- 1.1.2. Functions of Frequency -- 1.2. Fundamental Concepts of Spectrum -- 1.2.1. Periodicity and Pitch -- 1.2.2. Distributed Spectra -- 1.2.3. Dynamic Spectra -- 1.2.4. The Uncertainty Principle -- 1.3. Psychoacoustic Aspects -- 1.3.1. The Cochlear Mechanism -- 1.3.2. Critical Bandwidth -- 1.3.3. Loudness Perception -- 1.4. A Provisional Definition -- 2. A History of the Spectrum -- 2.1. Principles of Pitch and Scale -- 2.1.1. The Pythagorean Scale -- 2.1.2. Just Intonation -- 2.1.3. Musical Instruments -- 2.2. Classical Physics -- 2.2.1. Frequency and Pitch -- 2.2.2. Harmonics -- 2.2.3. Strings and the Wave Equation -- 2.2.4. Chladni Figures -- 2.2.5. Fourier's Theorem -- 2.2.6. Partials and Hearing -- 2.3. Helmholtzian Theory -- 2.3.1. Musical Tones and Noise -- 2.3.2. Resonators and Other Analytical Instruments -- 2.3.3. Theory of Spectral Hearing -- 2.3.4. Musical Timbre -- 2.3.5. Rayleigh's Theory of Sound -- 2.4. Twentieth Century -- 2.4.1. Electronic Instruments and Signal Processing -- 2.4.2. Electronic Music -- 2.4.3. Computer Music -- 3. Fundamental Aspects of Audio and Music Signals -- 3.1. The Nature of Audio Signals -- 3.1.1. Real Signals -- 3.1.2. Instantaneous Frequency and Phase -- 3.2. Manipulating Analogue Audio Signals -- 3.2.1. Non-Linear Distortion -- 3.2.2. Noise and Signal Level -- 3.2.3. Modulation -- 3.2.4. DC Offset -- 3.3. Discrete Signals -- 3.3.1. Sampling -- 3.3.2. The Discrete-Time Baseband -- 3.3.3. Digital Audio -- pt. II TECHNIQUES -- 4. Continuous and Discrete Spectra -- 4.1. The Fourier Series -- 4.1.1. Even and Odd Functions -- 4.1.2. Interpreting the Fourier Formula -- 4.1.3. The Fourier Series of a Square Wave -- 4.1.4. Complex Representation -- 4.2. The Fourier Transform -- 4.2.1. The Inverse Fourier Transform -- 4.2.2. Amplitude and Phase Spectra -- 4.2.3. The Spectra of Real Signals -- 4.2.4. The Spectra of Fundamental Signals -- 4.3. Convolution -- 4.3.1. Discrete Convolution -- 4.4. Sampling in Time and Frequency -- 4.4.1. Finite-Time Signals -- 4.4.2. Hard-Sync Waveforms -- 4.5. Classic Waveforms -- 4.5.1. The Sawtooth -- 4.5.2. Triangle Wave -- 4.5.3. Pulses -- 4.5.4. Additive Synthesis -- 4.6. The Fourier Spectrum -- 5. Discrete Time, Discrete Frequency -- 5.1. The Discrete Fourier Transform -- 5.1.1. Programming the DFT -- 5.1.2. Interpreting the DFT -- 5.1.3. Analysis Windows -- 5.2. The Fast Fourier Transform -- 5.2.1. Radix-2 FFT -- 5.2.2. ReaTto-Complex and Complex-to-Real Transforms -- 5.2.3. Other Radices -- 5.3. Discrete-Time Convolution -- 5.3.1. Direct Convolution -- 5.3.2. Fast Convolution -- 5.3.3. Partitioned Convolution -- 5.3.4. Multiple Partitions -- 5.3.5. Spectral Design Applications -- 5.4. Time-Varying Convolution -- 5.4.1. Implementation -- 5.4.2. Spectral Design Applications -- 5.5. The Discrete Spectrum -- 6. Time-Frequency Processing -- 6.1. Sub-band Signals -- 6.1.1. Designing a Bandpass Filter -- 6.1.2. The Phase Vocoder -- 6.2. The Short-Time Fourier Transform -- 6.2.1. Analysis Frame Rate -- 6.2.2. Phase Alignment -- 6.2.3. Resynthesis -- 6.3. Spectral Analysis-Synthesis -- 6.3.1. Phase Difference Method -- 6.3.2. Instantaneous Frequencies -- 6.3.3. One-Sample Hopsize -- 6.3.4. Sliding Transform -- 6.3.5. Phase Integration -- 6.4. Streaming Spectral Processing -- 6.4.1. The Spectral Analysis -- Synthesis Class -- 6.4.2. Spectral Signals in Csound -- 6.5. Spectral Manipulation -- 6.5.1. Filters -- 6.5.2. Blurring -- 6.5.3. Tracing -- 6.5.4. Stenciling -- 6.5.5. Mixing and Demixing -- 6.5.6. Frequency Scaling and Shifting -- 6.5.7. Spectral Envelope -- 6.5.8. Morphing -- 6.5.9. Spectral Delays -- 6.6. Timescale Modifications -- 6.6.1. Phase Locking -- 6.6.2. Pitch and Timescale -- 6.6.3. Csound Opcodes -- 6.7. The Hilbert Transform -- 6.8. The Dynamic Spectrum -- 7. The Spectra of Filters -- 7.1. Filters and Delays -- 7.1.1. Pure Delays -- 7.1.2. Inverse Comb Filter -- 7.2. The Z-Transform -- 7.2.1. Complex Polynomials -- 7.2.2. Zeros -- 7.2.3. The Z-Transform and the DFT -- 7.3. Zeros on the Complex Plane -- 7.3.1. First-Order Filters -- 7.3.2. Second-Order Filters -- 7.3.3. Minimum Phase -- 7.3.4. Linear Phase -- 7.4. Filter Design -- 7.4.1. Time-Domain Method -- 7.4.2. Frequency-Domain Method -- 7.4.3. Design Example -- 7.5. Feedback -- 7.5.1. Poles -- 7.5.2. Resonators -- 7.5.3. Stability -- 7.5.4. Phase Response -- 7.6. Recursive Filter Design -- 7.6.1. Parallel and Series Connections -- 7.6.2. Modeling Physical Systems -- 7.6.3. String Resonators -- 7.6.4. Allpass Filters -- 7.6.5. The Channel Vocoder -- 7.7. Time-Varying Filters -- 7.7.1. Allpass Phasers -- 7.7.2. Audio-Rate Coefficient Modulation -- 7.7.3. Delay Time Modulation -- 7.8. A Generalized Concept of Spectrum -- 8. Non-Linear Synthesis of Spectra -- 8.1. Closed-Form Synthesis Formulae -- 8.1.1. Generalized Summation Methods -- 8.2. Frequency and Phase Modulation Synthesis -- 8.2.1. Phase Modulation -- 8.2.2. Signal Bandwidth and Aliasing -- 8.2.3. Carrier to Modulator Ratio -- 8.2.4. Implementation -- 8.2.5. Frequency Modulation -- 8.2.6. Splitting Sidebands -- 8.2.7. Feedback -- 8.2.8. Complex PM -- 8.2.9. Exponential FM -- 8.3. Phase Distortion Synthesis -- 8.3.1. Vector Phase Shaping -- 8.4. Modified Frequency Modulation Synthesis -- 8.4.1. Phase-synchronous ModFM -- 8.4.2. Extended ModFM -- 8.5. Polynomial Waveshaping -- 8.5.1. Dynamic Spectra -- 8.5.2. Normalization -- 8.5.3. Implementation -- 8.5.4. Chebyshev Polynomials -- 8.5.5. Quadrature Waveshaping -- 8.6. Other Distortion Functions -- 8.7. Adaptive Modulation Methods -- 8.7.1. Adaptive Frequency Modulation -- 8.8. The Non-Linear Spectrum -- 9. Noise -- 9.1. Random Processes and Noise Signals -- 9.1.1. Centroid and Bandwidth -- 9.1.2. Probability Distribution and Density -- 9.1.3. Power Spectrum Density -- 9.1.4. Fractional Noise -- 9.1.5. Spectral Moments -- 9.2. Computing Noise -- 9.2.1. Random Number Generators -- 9.2.2. Sample and Hold -- 9.2.3. Heterodyning -- 9.2.4. Filtered Noise -- 9.2.5. Wavetables -- 9.3. Grain -- 9.3.1. Asynchronous Granular Synthesis -- 9.3.2. Wavelets -- 9.3.3. Matching Pursuit -- 9.4. The Spectral Envelope Revisited -- 9.4.1. Linear Prediction -- 9.4.2. Computing Prediction Coefficients -- 9.4.3. Synthesis -- 9.4.4. Spectral Representations -- 9.4.5. Streaming Linear Prediction -- 9.5. Spectral Models -- 9.5.1. Partial Tracking -- 9.5.2. Peak Identification -- 9.5.3. Peak Interpolation -- 9.5.4. Track Formation -- 9.5.5. Frequency and Phase -- 9.5.6. Synthesis -- 9.5.7. Residual Extraction -- 9.5.8. Modeling the Residual -- 9.5.9. Transients -- 9.5.10. Streaming Partial Track Processing -- 9.5.11. ATS -- 9.6. The Non-Deterministic Spectrum -- pt. III DESIGN -- 10. Spectral Design in Music -- 10.1. The Emergence of Spectral Color as a Structuring Device -- 10.1.1. Chords and Spectra -- 10.1.2. Instrumentation and Spectra -- 10.2. Audio Technology -- 10.2.1. Recording and Broadcasting as Carriers of Spectral Information -- 10.2.2. Changes in Instrumental Sound -- 10.2.3. The Mechano-Acoustic and the Electro-Acoustic -- 10.3. Electronic Music -- 10.3.1. The Feedback on Instrumental Writing -- 10.3.2. Electric Jazz, Rock, and Pop -- 10.3.3. Spectromorphology -- 10.3.4. Spectral Hearing -- 10.4. Computer Music -- 10.4.1. Risset's Catalog -- 10.4.2. Case Studies -- 10.5. The Musical Spectrum -- 11. Computer Sound Design -- 11.1. Additive Synthesis -- 11.1.1. Recursion -- 11.2. Non-Linear Distortion -- 11.2.1. Operator FM -- 11.2.2. Synthesis of Resonance -- 11.3. Source-Modifier Techniques -- 11.3.1. String Machines -- 11.3.2. The Vocoder -- 11.4. Granular Processing -- 11.5. Analysis-Synthesis -- 11.5.1. Spectral Envelopes -- 11.5.2. Morphing -- 11.5.3. Timescaling -- 11.5.4. Spectral Delays -- 11.6. Design Methods -- 12. Composing the Spectrum -- 12.1. Spectral Music-Making -- 12.1.1. Metaphors -- 12.1.2. Terminology -- 12.1.3. Realtime Systems and Performance -- 12.1.4. Physical and Virtual Space -- 12.1.5. Approaches to Composing the Spectrum -- 12.2. The Composition of Mouvements -- 12.2.1. The Generative Principle -- 12.2.2. Variations -- 12.2.3. Other Variants -- 12.2.4. Macrostructure -- 12.2.5. Discussion -- 12.3. Conclusion: the Spectral Playground.

Call Number

JMF 21-166

ISBN

• 0197524028
• 9780197524022
• 019752401X
• 9780197524015

OCLC

1233163361

Author

Lazzarini, Victor, 1969- author.

Title

Spectral music design : a computational approach / Victor Lazzarini.

Publisher

New York, NY : Oxford University Press, [2021]

Type of Content

text

Type of Medium

unmediated

Type of Carrier

volume

Bibliography

Includes bibliographical references (pages 475-482) and index.

Research Call Number

JMF 21-166