Book (Practical) Information science Music production / Seiichiro Matsumura / Shintaro Imai

Product description ※Please note that product information is not in full comprehensive meaning because of the machine translation.

Information Science
[Introduction]
0 Audience Audience
Everyone who is interested in creating music using technology
0 Book Features
The chapters of this book are written by authors from various disciplines.
The biggest characteristic is that all of them are researchers, and at the same time, they are "expressers" who produce music and works themselves.
It is not limited to technology introduction but also describes philosophy and viewpoint of music production using technology based on his production experience.
0 About Each Chapter
You can read this book in order, or you can start with the chapter you are interested in.
Chapter 1, "The Transition of the Electronic Music Production Environment and Tools," explains the basic assumptions and concepts of electronic music production, the technology that is being implemented, and describes music production that is away from the concept of "playing back musical scores in time series" using pure data.
Chapter 2, "Live Computer Electronics," discusses some examples of performances using Max, including works by composers and works using Android that the author in charge of the chapter worked on.
Chapter 3, Sound Composition, discusses composing methods and concepts that directly shape sound by programming with SuperCollider.
Chapter 4, "Live Coding," introduces the definition, history, and cultural development of a style of musical production that creates music while coding in real time.
Chapter 5, "Musical Linguistics and Mathematics," traces the history of the application of various algorithms and mathematical techniques to music composition and explains it with examples.
Chapter 6, "Media Art and Music Technology," provides an overview of keywords such as music and technology, sensors and robots, and media art and composition, with references to many of the author's works.
0 Message from the author
At the same time that music is a cultural product defined as "all the positive expression and perceptual activities of human beings based on sound", the field of modern music production is influenced by technology, and we cannot talk about the whole of music production without the story.
However, with the emergence of generative AI in technology, the music production field is becoming a kind of chaos.
As if stopping a little bit, this book explains a wide range of fields such as music production technology and techniques that have been used since before the advent of generation AI, techniques for creating music and sound through programming, the field of mathematical understanding of music composition and sound string generation, and media art with sound as the axis, based on each world view.
The common elements in both chapters are that they focus on "music production" for a specific "expression" and that they discuss "music production" on the premise of a system that produces "music" and "sound" while coexisting with a certain sense of balance between technology and human beings.
In other words, I have a feeling that I have a bird' s-eye view of the relationship between current hot generative AI and music.
[Contents]
* Due to pre-publication information, there may be some changes.
1. Electronic Music Creation Tools
1.1 Electronic Musical Instruments
1.1.1 Minn gray fabric Analog Synthesizer
1.1.2 Minn gray fabric Digital Synthesizer
1.2 Synthesizer Principles
1.3 Electronic Musical Instruments with DSP
1.3.1 Electronic Musical Instruments with DSP
1.3.4 Software Synthesizer
1.4 of Digital Synthesizer
Software Synthesizer
Sequencer
1.4.1 Budding Sequencer
1.4.2 Analog Sequencer (CV/GATE)
1.4.3 Digital Sequencer with CV/GATE
1.4.4 Features of MIDI Sequencer
1.4.5 Hardware Sequencer
1.4.6 Software Sequencer
1.4.7 Real-time> Revenue and Money Conclusion
What is a "Interaction"
Issues in Live Computer Electronics
Sustainability of Live Computer Electronics
3. Acoustic Composition
Sound and Music
Sound and Sound
Music of Live Computer Electronics
Sustainability of Live Computer Electronics
Sustainability of Live Computer Electronics
Sustainability of Live Computer Electronics
About Programming
Sound and Sound
About Musical Composition
About Brass SuperCollider
About Brass Composition
br> Practice of Horse Composition
Practice of Horse Composition
Practice of Horse Composition
Practice of Horse Composition
About Brass SuperCollider
Music for Application of
Determination of global structure by assigning a Wien Harmonic Domain
Determination of the path of a ブロックソノール within a Wien Harmonic Domain
Conclusion
6. Media Arts and Music Technology
Relationship between Media Arts and Music Technology
The artistic approach of Wien Virtual Musical Instrument and robotics
Intelligence of Wien Robot
Development of Wien Virtual Musical Instrument and 『 RoboticMusic 』
Application to Wien works and results
Perspective of Wien Robotics
Technological aspects and implementation of Wien Virtual Musical Instrument
Wien gestures and music
Wien mapping interface, algorithm, sound synthesis, interactive video
Wien sound synthesis, music production with sound and gestures
Challenges with interaction in 4.2 4.2.1 4.2.2 4.2.3 4.2.4 4.2.5 4.2.6 4.2.7 4.2.8 4.2.9 4.2.10 4.2.11 4.2.12 4.2.13 4.3 4.4 4.4.1 4.4.2 4.4.3 4.4.4 4.4.5 4.4.6 4.4.7 4.5 5.1 5.2 5.2.1 5.2.2 5.2.3 5.2.4 5.2.5 5.3 5.3.1 5.3.2 5.3.3 5.3.4 5.4 5.4.1 5.4.2 5.4.3 5.4.4 5.5 6.1 6.2 6.2.1 6.2.2 6.2.3 6.2.4 6.3 6.3.1 6.3.2 6.3.3 6.3.4 6.3.5 6.4 6.4.1 6.4.2 6.5 6.5.1 6.5.2 6.5.3 6.5.4 6.6 1.4.8 1.4.9 1.4.10 1.5 1.5.1 1.5.2 1.5.3 1.5.4 1.5.5 1.6 1.6.1 1.6.2 1.6.3 1.6.4 1.6.5 1.6.6 1.6.7 1.6.8 1.6.9 1.6.10 1.7 2.1 2.2 2.2.1 2.2.2 2.2.3 2.2.4 2.2.5 2.2.6 2.2.7 2.2.8 2.3 2.3.1 2.3.2 2.3.3 2.3.4 2.3.5 2.3.6 2.4 2.4.1 2.4.2 2.4.3 2.4.4 2.5 2.5.1 2.5.2 2.5.3 2.6 2.6.1 2.6.2 2.6.3 3.1 1.3.2 3.1.1 3.1.2 3.1.3 3.1.4 3.2 3.2.1 3.2.2 3.3 3.3.1 3.3.2 1.3.3 3.3.3 3.3.4 3.3.5 3.3.6 3.3.7 3.3.8 3.3.9 3.3.10 3.3.11 3.3.12 3.3.13 3.4 4.1 4.1.1 4.1.2 4.1.3 4.1.4 4.1.5 4.1.6 4.1.7 ±