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In computer music one takes the analog phenomenon of sound production
and applies digital principles to it via the ultimate digital vehicle --
the computer.  Sound may be translated to an analog (voltage) signal in
a wire -- as, for example, in a stereo.  Similarly, this signal may be described
by numbers, thus allowing the sound to be manipulated by the computer.
The involvement of number manipulation and theory take this field far beyond the
realms of computer science and music alone. The disciplines of mathematics,
engineering, and physics (specifically acoustics) are inextricably involved
in computer composition. 

The requirements for using a machine as an instrument-performer are particularly 
prohibitive to a musician who is not accustomed to the having to 
understand his medium to the extent that he must understand a computer in
order to use it. The technically oriented person is on a bit more solid
ground since he is already familiar with the machine and the techniques
with which to manipulate it.  Presumably he also has an affinity to music
which has drawn him to apply his skills in that area.

The bibliographer with no technical background faces a frustrating dilemma.
Since computer music draws equally from all the above-mentioned disciplines,
there is an obligation to include some technical as well as general 
materials.  The musicians will eventually have to explore technical literature
in order to fully realize the potential of a powerful medium.
Pinpointing the specific areas within the technical fields is difficult,
as is sifting through the literature to find which sources have musical
applications.

The bibliography is set up according to alphabetically arranged subject
headings as follows: ⊗⊗Acoustics⊗, ⊗⊗Bibliographies⊗, ⊗⊗Composition
software⊗, ⊗⊗Digital signal
processing⊗, ⊗⊗Journals⊗, ⊗⊗References⊗, ⊗⊗Synthesis techniques⊗.
zntries under the subject headings are hierarchical from general to
specific, and alphabetically between items of equal specificity.

A brief word on the category of ⊗⊗Synthesis techniques⊗ is in order.  These
are techniques used to vary the quality of a sound signal, and may be broken
up into three areas: 1. Additive (adding sinusoidal waves together) 
2. Subtractive (use of digital filters to carve away part of a signal)
3. Non-linear (techniques such as frequency modulation and waveshaping)

Some of the sources overlap in categories. They are listed under all
appropriate headings, but only annotated once with see references from the
other areas.

The omission of Wayne Bateman's newly published //Introduction to computer
music/ may seem glaring to some.  It has been replaced with the Strawn-Roads
book on computer music, a work in progress which promises to be much
more comprehensive and accurate.
.next page;
.skip 3;
. spaces 1;
. begin
. center;
%5ACOUSTICS
.end;

.skip 3;
.spaces 1;
.indent 0,0,0;
Backus, John. //The acoustical foundations of music./  New York, W.W. Norton
& Co. inc., c1977, 1969.

.spaces 2;
.indent 3,0,0;
This is a good, basic introduction to music acoustics.  It is simply and clearly
written.  The book is divided into four parts. Part I provides a general
background in physics and acoustics, treating vibrating systems, waves and
wave propagation, and complex vibrations and resonance.  Part II deals with
the reception  of musical sounds - the structure and function of the human
ear, and its perception of tone quality, frequency and pitch, and intervals
and variously tuned scales.  Part III explores the environment - auditorium
and room acoustics. Part V treats different musical instruments (including
electronic instruments) and the production of musical sounds.  There is 
an appendix of powers of ten and simple logarithms, and a subject index
at the end. An extensive list of references is included at the end of each
chapter. This book should
be supplemented by information included in the later work by Benade.

.skip 3;
.spaces 1;
.indent 0,0,0;
Benade, Arthur H.  //Fundamentals of Musical Acoustics./  New York, Oxford 
University Press, 1976.

.spaces 2;
.indent 3,0,0;
This is a more detailed and comprehensive treatment of musical acoustics.
It was written as a textbook to a course, and the chapters follow a logical
progression.  For this reason, it is difficult to single out individual
chapters, since much of the required information is included in earlier
chapters.  The book is set up similarly to the Backus. Fundamental ideas
are treated first - impulsive sounds, relations of sound and motion,
frequencies and decay of composite sounds, pitch, and modes of oscillation.
Vibrations caused by impulsive excitations (striking or plucking) are
treated first, then systems activated by repetitive forces are explored.
Room acoustic principles are described, and the book ends with a
detailed examination of the various instruments and their sound production.
Interestingly enough, he does not explore electronic music and its
potential.  References are grouped at the end of each chapter, and
an extensive subject index is included at the end of the book.

.skip 2;
.spaces 1;
.indent 0,0,0;
Moorer. James A. ⊗⊗Signal processing aspects of computer music - a survey.⊗
//Proceedings of the IEEE/, Vol.65, no.8 (Aug. 1977). pp.1108-1137.
⊗⊗See entry under GENERAL WORKS.⊗

.skip 2;
.spaces 1;
.indent 0,0,0;
Strawn, John, ed.  ⊗⊗Lexicon of analyzed tones : analysis and plotting programs
by James A. Moorer and John Grey. Part 2: Clarinet and oboe tones.⊗ //Computer
Music Journal/, Vol.1, no.3. pp.12-29. ⊗⊗See entry under SYNTHESIS TECHNIQUES.⊗
.skip 3;
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. begin
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%5BIBLIOGRAPHICAL WORKS
.end;

.indent 0,3,0;
%12. //Computer and control abstracts/ An INSPEC publication. ⊗⊗Science abstracts.⊗
Series C. London, Institution of Electrical Engineers [and] Institute of 
Electrical & Electronic Engineers, Inc.,New York, 1966-

.SPACES 2;
.INDENT 3,0,0;
This is excellent and comprehensive abstracting resource which includes
journals, reports, books, dissertations, patents, and conference papers published
in all countries and languages of the world. Some 32,000 items are abstracted
each year.  There is a list of approximately 27,000 journals in the areas of 
Physics, Electrical engineering and electronics, and Computer and control
from which articles are selected.
Of these, about 360 are abstracted completely. The monthly issues include
subject and author indexes.  Subsidiary
indexes are included when appropriate: Bibliography index (articles containing
a significant list of references or bibliography); Book index; Corporate author
index (includes reports and patent assignees); and Conference index (with 
references to individual papers) 
Cumulative subject and author indexes are published twice a year.  
The entries are divided into classes according to the above areas.
The information included in the entries
is Author and affiliation, Title, Source of paper, and Abstract with 
number of references (this is especially helpful for those looking for papers
with extensive bibliographic material)  The subject index uses the terms from
the INSPEC Thesaurus.  Each entry under a subject heading starts with a keyword
or key phrase considered to be most relevant to the heading.  The index seems to  
be a hierarchy of keywords.

.skip 3;
.SPACES 1;
.indent 0,0,0;
//Proceedings of the International Computer Music Conference, Queens College
(Nov. 1980)/
.spaces 2;
.indent 3,0,0;

Although I have not been able to procure a copy of this source, reports from
participants indicate that it would be a valuable addition. Of particular interest
is an extremely comprehensive computer music bibliography
which has been bound in with the rest of the papers.  This bibliography also
exists on magnetic tape, and the author intends to continue to have it updated
periodically.   A list of participants would be a good supplementary directory
of people and institutions interested in computer music.

.skip 3;
.spaces 1;
.indent 0,0,0;
Tjepkema, Sandra L.  //A bibliography of computer music : a reference for
composers/. Iowa City, University of Iowa Press, 1981.

.spaces 2;
.indent 3,0,0;
This bibliography is valuable, but a bit restricted in its scope. The author
approaches the field from the viewpoint of a composer using a computer.
She therefore concentrates on less technical materials.  Included are
books, articles, dissertations and papers covering the period from 1956 to
Jan. 1979.  Most entries are annotated. A subject index directs the user to
the numbers of the proper entries. Tjepkema also lists computer acronyms
in common use, some computer manufacturers with a partial description of their
products, and studios and centers of activity.  This bibliography should be
used in conjunction with the bibliography included in the proceedings of the
International Computer Music Conference, Queens College (Nov. 1980)

.skip 3;
. spaces 1;
. begin
. center;
%5COMPOSITION SOFTWARE
.end;

.skip 2;
.spaces 1;
.indent 0,0,0;
Buxton, William.  //Music software user's manual./  Toronto, Ontario, Canada,
University of Toronto, June 24, 1981.

.spaces 2;
.indent 3,0,0;
This is a user manual for the software of the music system developed by SSSP
(Structured Sound Synthesis Project) at the University of Toronto.  Included
is a discussion of the different programs and how they interrelate.  The
various techniques and conventions required to interact with the computer are
described step by step.  The programs are designed to provide tools to deal with
defining and editing timbres, defining formal musical structures (i.e. scores),
orchestrating these scores utilizing defined timbres, and performing the
resulting composition.  The manual is broken in to separate tutorials for the
individual programs. The first chapter treats technical details and the various
music commands needed in the programs. There is a list of references at the end.
Next come tutorials on OBJED (object editor), SCRIVA (graphics score editor),
SCED (alphanumeric score editor), PROD (composing program), and CONDUCT 
(performance program)  SSSP publications are listed at the end of the manual.

.skip 2;
.spaces 1;
.indent 0,0,0;
Mathews, Max V.  //The technology of computer music./  Massachusetts,
M.I.T. press, 1969. ⊗⊗See entry under GENERAL WORKS⊗.

.skip 3;
.spaces 1;
.indent 0,0,0;
Truax, Barry.  ⊗⊗A communicational approach to computer sound programs.⊗
//Journal of Music Theory,/ Vol. 20, no. 2 (1976). pp.227-300.

.spaces 2;
.indent 3,0,0;
This is a good overview of the main compositional software which had been
written up to the time of the publication of the article.  Truax starts
out with an analysis of the problems facing the computer composer  -- 
understanding and utilizing its potential.  He then traces the development
of compositional software starting in 1955 with the first use of the
computer to generate data for conventional scores. The main programs are
covered and analyzed as to how well they serve the needs of the composer.
The above is, of course, a build up to the author's own software package
POD.  The last 40 percent of the article is devoted to a detailed description
of the POD system of interactive composition programs and how they serve
as an intermediary between composer and computer.  The final sections of
the article treat the problem of real-time sound synthesis (i.e. the
situation in which the composer is able to hear the sound immediately
upon entering the data)  The author speculates on ways to minimize the
delay caused by computer processing of data. References are listed at the
end of the article, followed by an extensive bibliography.

.skip 3;
.spaces 1;
Schottstaedt, William. [⊗⊗The composer builds a program.⊗]  //Computer
Music Journal/ (a work in progress)

.spaces 2;
.indent 3,0,0;
This article, which has been accepted for publication in the Computer Music
Journal may well herald a new trend in compositional software.  Up to now, 
composition programs have been designed to shield the composer as much as
possible from having to deal with the computer.  Schottstaedt objects
to this as being overly protective and downright restrictive, since the
composer must accept the limitations, structures, and jargon imposed by the 
original
program designer.  The result is a non-programmable language which may be
used, but not molded. Schottstaedt feels that there should be more direct
interaction between the machine and the composer. 
A well known computer composer with an extensive knowledge
of the field, he set about writing software which would allow this.
He adapted an extant 
high level language to the composer's needs, and increased its usefulness
by translating much of the numerical jargon to mnemonic musical terms
and pre-compiling many of the common compositional techniques.
The resulting language can do as much or as little
as a composer wants.  He may use the pre-compiled procedures, program his own
procedures, or have an interactive relationship between the two.
Most aspects of the composition system may be extended and modified.
An added attraction is a graphics oriented music editor which can produce
almost any desired graphical representation of a piece. It can then be displayed
on the screen, and that portion of the piece can be edited, compiled and
played. 
.SKIP 3;
. spaces 1;
. begin
. center;
%5DIGITAL SIGNAL PROCESSING
.end;

.skip 2;
.spaces 1;
.indent 0,0,0;
Rabiner, Lawrence R. and Gold, Bernard. //Theory and application of digital
signal processing./ New Jersey, Prentice-Hall, 1975.

.spaces 2;
.indent 3,0,0;
By the admission of the authors, this book is geared towards advanced graduate
engineering courses and the practicing engineer.  It assumes an extensive
background, and is an essential source for technically oriented engineer
who wishes to pursue the extreme capabilities of digital signal processing.
The first 7 chapters deal mostly with signal processing theory - discrete-time
linear systems, finite duration impulse response digital filters, infinite
impulse response digital filters, finite word length effects in digital
filters, spectrum analysis and the fast Fourier transform, and two-dimensional
signal processing. Chapters 8-11 treat digital hardware, and the final chapters
describe applications of digital signal processing to speech and radar.
The book consists mostly of mathematical formulas and graphs.  References are
listed at the end of each chapter, and there is a short subject index at the
end of the book.

.skip 2;
.spaces 1;
.indent 0,0,0;
Moore, F.R. ⊗⊗An introduction to the mathematics of digital signal processing : 
part I: algebra, trigonometry, and the most beautiful formula in mathematics.⊗
//Computer Music Journal/, Vol. II, no. 1.  pp.38-46. ⊗⊗See entry under
SYNTHESIS TECHNIQUES.⊗

.skip 2;
.spaces 1;
.indent 0,0,0;
Moore, F.R. ⊗⊗An introduction to the mathematics of digital signal processing :
part II: sampling, transforms, and digital filtering.⊗  //Computer Music 
Journal/, Vol. II, no. 2.  pp.38-60. ⊗⊗See entry under SYNTHESIS TECHNIQUES.⊗
.SKIP 3;
. spaces 1;
. begin
. center;
%5DIGITAL SIGNAL PROCESSING
.end;

.skip 2;
.spaces 1;
.indent 0,0,0;
Rabiner, Lawrence R. and Gold, Bernard. //Theory and application of digital
signal processing./ New Jersey, Prentice-Hall, 1975.

.spaces 2;
.indent 3,0,0;
By the admission of the authors, this book is geared towards advanced graduate
engineering courses and the practicing engineer.  It assumes an extensive
background, and is an essential source for technically oriented engineer
who wishes to pursue the extreme capabilities of digital signal processing.
The first 7 chapters deal mostly with signal processing theory - discrete-time
linear systems, finite duration impulse response digital filters, infinite
impulse response digital filters, finite word length effects in digital
filters, spectrum analysis and the fast Fourier transform, and two-dimensional
signal processing. Chapters 8-11 treat digital hardware, and the final chapters
describe applications of digital signal processing to speech and radar.
The book consists mostly of mathematical formulas and graphs.  References are
listed at the end of each chapter, and there is a short subject index at the
end of the book.

.skip 2;
.spaces 1;
.indent 0,0,0;
Moore, F.R. ⊗⊗An introduction to the mathematics of digital signal processing : 
part I: algebra, trigonometry, and the most beautiful formula in mathematics.⊗
//Computer Music Journal/, Vol. II, no. 1.  pp.38-46. ⊗⊗See entry under
SYNTHESIS TECHNIQUES.⊗

.skip 2;
.spaces 1;
.indent 0,0,0;
Moore, F.R. ⊗⊗An introduction to the mathematics of digital signal processing :
part II: sampling, transforms, and digital filtering.⊗  //Computer Music 
Journal/, Vol. II, no. 2.  pp.38-60. ⊗⊗See entry under SYNTHESIS TECHNIQUES.⊗
.SKIP 3;
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. begin
. center;
%5GENERAL WORKS
.end;

.skip 2;
.spaces 1;
.indent 0,0,0;
Mathews, Max V.  //The technology of computer music./  Massachusetts,
M.I.T. press, 1969.

.spaces 2;
.indent 3,0,0;
This is the pioneer work in computer music.  Although it was written in the
earliest stages of the field, the concepts are basic enough to hold true today.
The book is essentially an introduction to Music V, the author's program for
sound synthesis.  It is divided into three parts.  The first introduces the
fundamentals of computer music - functions for analyzing sound waves, 
digital and analog signals, basic filters, data storage and retrieval, and an
overview of Music V.  The second part trains the reader in the use of Music V
through use of examples in sound synthesis.  The last part provides a detailed
description of the operation and structure of the program itself.  The first
two chapters contain sample problems.  All chapters end with a list of
annotated references by subject. Two appendices briefly explore psychoacoustics
and music, and basic math involved in signal theory.  An alphabetical subject
index is included at the end of the book.

.skip 3;
.spaces 1;
.indent 0,0,0;
Moorer, James A.  ⊗⊗How does a computer make music?⊗  //Computer Music Journal/,
Vol.II, no.1. pp.32-37.

.spaces 2;
.indent 3,0,0;
A wonderfully simple explanation of how a computer produces sound.  The article 
treats the basics - analog and digital signals, converters, synthesis concepts,
spectra and wave tables, filters, synthesis techniques, and defining instruments
and note lists for a computer.  The text is further clarified through the use of
drawings and graphs, and a brief list of references is included.

.skip 3;
.spaces 1;
.indent 0,0,0;

Moorer. James A. ⊗⊗Signal processing aspects of computer music - a survey.⊗
//Proceedings of the IEEE/, Vol.65, no.8 (Aug. 1977). pp.1108-1137.

.spaces 2;
.indent 3,0,0;
This is a good, moderately technical introduction to signal processing in 
computer music.  Moorer treats synthesis techniques and the three types of
processing (additive, subtractive, and non-linear [specifically FM])
He also briefly explores psychoacoustics through  the use of a quadraphonic
layout, artificial reverberation, and digital recording studio techniques.
He sets forth the basic principles of special-purpose signal processing 
hardware 
for music synthesis and discusses two prototypical music synthesizers.
The article is liberally sprinkled with mathematical formulas and graphs, all 
carefully explained.  There is an extensive bibliography at
the end directing the interested reader to other sources.

.skip 3;
.spaces 1;
.indent 0,0,0;
Strawn, John, and Roads Curtis, eds.  //Computer music./  Massachusetts,
 M.I.T. Press, 198?

.spaces 2;
.indent 3,0,0;
This is a work in progress whose arrival is eagerly anticipated. It promises
to be an important source in the field.  The proposed chapters include
techniques for musical sound synthesis, software systems for musical composition,
synthesizer engineering and hardware, digital signal processing, sound in space,
composition with computers, digital recording, and the analysis, perception, and 
transcription of musical sound. Most of the articles to be included are being 
written by the acknowledged experts in the field (many of whose works are 
included in this bibliography) An index of persons, and subject index will
be included at the end.
.skip 3;
. spaces 1;
. begin
. center;
%5JOURNALS
.end;

.SKIP 2;
.spaces 1;
.indent 0,0,0;
//IEEE transactions on acoustics, speech and signal processing./
New York.  1953-

.spaces 2;
.indent 3,0,0;
Articles in this journal tend to be of a theoretical, speculative, and
technical nature. They contain a high level of sophistication, and as
a result, the journal merits being fully abstracted by CCA.
Each issue contains papers (categorized under specific
headings, such as //Signal Processing, Speech, Electroacoustics, etc./), 
correspondence, book reviews, abstracts of manuscripts in review (i.e.
abstracts of articles submitted for publication in the journal)
Pictures and short biographies of the contributors add a nice touch.
The journal is issued 6 times a year.  The December issue contains an
author and subject index to the items contained in the year's journals
(including items from prior years that were commented upon in the course
of the present year) The author index contains the primary entry for each
item (listed under the first-named researcher in the event of co-authorship)
Cross references link co-authors with the main authors of the entries.
The subject index includes generic as well as technical headings (eg.
//Book reviews/, and //Bibliographies/) Papers containing more than 50 
references are listed under the //Bibliographies/ subject heading.
Subject cross references are included as required.

.skip 3;
.spaces 1;
.indent 0,0,0;
//Journal of the Audio Engineering Society./ New York.  1953-

.spaces 2;
.indent 3,0,0;
This journal seems to be geared more towards popular than technical
consumption. The articles are more practical in than speculative, and
must be weeded out from among countless advertisements.  Despite the
overt commerciality, the papers are of high quality emphasizing the  
present state of the art.  It is published monthly and its articles
are reviewed for abstracting by CCA. The December issue
contains cumulative subject and author indexes for the year.  Each
journal includes papers, engineering reports, letters to the editor,
Acoustical Society of America noise standards news (occasionally),
patent news, news from various local organizations, announcements for
upcoming meetings, calls for papers, lists of new publications, and
member information (including names and addresses)  It is an essential
publication for those who wish to stay "au courant".

.skip 3;
.spaces 1;
.indent 0,0,0;
//Journal of the Acoustical Society of America./ New York, 1929-

.spaces 2;
.indent 3,0,0;
This is the main journal for the field of acoustics.  It is published
monthly with quarterly supplements.  Each issue includes articles on
various aspects of the field, letters to the editor, occasional technical
notes and research briefs, U.S. acoustical news, acoustical news from
abroad (this separation of the U.S. from the rest of the world seems 
to indicate a national bias), errata from previous volumes, book reviews,
review of acoustical patents, and an author index (this is cumulative with
each successive volume through the year and lists only author name, and the
vol. and page no. where his article may be found)  
The journals are cumulated quarterly
and articles are listed according to ASA established subject headings.
Cumulative author indexes appear in June and December this time with full
author-title citations.  Supplements bound in with the monthly volumes
contain proceedings and programs of biannual meetings of the ASA as well
as references to contemporary papers on acoustics taken from other journals.
JASA is fully abstracted by CCA.

.skip 3;
.spaces 1;
.indent 0,0,0;
//Computer Music Journal./  Massachusetts, M.I.T. Press, 1976-

.spaces 2;
.indent 3,0,0;
This is the main journal for computer music.  Published quarterly, it 
attempts to include the main important
articles on research and developments in the field, and, to this end will 
sometimes reprint 
significant papers from other journals.  It succeeds in reaching a broad based
clientele by printing tutorial articles as well as technical ones.  In addition
it publishes reviews of the latest literature and sound recordings, and 
contains a section of products of interest.  There are unfortunately no
indexes in the volumes, however the journal is among those reviewed by 
Computer Control Abstracts.
P
.SKIP 3;
. spaces 1;
. begin
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%5REFERENCES 
.end;

.Skip 2;
.spaces 1;
.indent 0,0,0;
Abramowitz, Milton, & Stegun, Irene.  //Handbook of mathematical functions with
formulas, graphs and mathematical tables/, 3rd printing, March 1965, with
corrections. Washington D.C., for sale by Supt. of Docs., U. S. Government
Printing Office, 1965.

.spaces 2;
.indent 3,0,0;
This was an outgrowth of a conference on Mathematical tables held at Cambridge
Mass. Sept. 15-16, 1954 under the auspices of the National Science Foundation 
and M.I.T.  At this conference, it was decided to update the classical tables
of functions by E. Jahnke and F. Emde which were by then 50 years old.  The
aim of the update was to fit a maximum of useful information in a moderate
sized volume, while covering the entire field of special mathematical functions
which arise in physical and engineering problems.  The book is the result of
the cooperation of many mathematicians.  The tables are supplemented by
including the mathematical properties that are important in computation
work and by providing numerical methods which demonstrate the use
and extension of the tables. An essential reference for those who constantly
use complicated sets of mathmatical functions.

.skip 3;
.spaces 1;
.indent 0,0,0;
Buxton, William, ed.  //Computer music 1976-77 : a directory to current work./
Ottawa, The Canadian Commision [sic] for Unesco, 1977.

.spaces 2;
.indent 3,0,0;
This is the most current directory of institutions exploring the field of 
computer music.  It is international in scope. The preface is in both
English and French.  The means of obtaining the information was 
a questionnaire.  Entries are arranged alphabetically by country, 
and the information most often included is: Name, address, and nature of 
institution,
staff, hardware (computers, peripheral devices, sound generating devices, 
operating systems), access, availability of technical assistance, instruction
offered, publications and musical works, software (functioning systems and
systems under development), principal source of funding, and areas of
activity. This should be supplemented with the list of participants in
the proceedings of the
International Computer Music Conference, Queens College (Nov. 1980)

.SKIP 3;
.SPACES 1;
.indent 0,0,0;
⊗⊗Computer Music Association⊗

.spaces 2;
.indent 3,0,0;
The CMA was founded in 1979 by Curtis Roads and John Strawn. It is a non-profit
organization which publishes a quarterly newsletter for its members, and
sponsors computer music conventions (such as the International Computer Music
Convention)  The group is mainly interested in the dissemination of information
in the field, and is extremely responsive to inquiries.  These should be
directed to John Strawn c/o CCRMA, Music Department, Stanford University,
Stanford, California, 94305.

.SKIP 3;
.SPACES 1;
.indent 0,0,0;
%1Knuth, Donald E. //The art of computer programming. v.1-3/
Reading, Massachusetts : Addison-Wesley, (v.1: 1968, 2nd ed. 1973; v.2: 1969,
2nd ed. 1981; v.3: 1973)

.SPACES 2;
.INDENT 3,0,0;
These are the first three volumes of a projected 7 volume set treating the
analysis of algorithms.  Even though only the three volumes have been completed,
this is already a landmark work in computer science literature. 
(Note that chapter numbers continue consecutively through the volumes)
The published books are:
V.1) Fundamental algorithms: ch.1 Basic concepts, ch.2 Information structures -- 
V.2) Seminumerical algorithms: ch.3 Random numbers, ch.4 Arithmetic -- V.3) Sorting
and searching: ch.5 Sorting, ch.6 Searching.  The projected volumes are: V.4)
Combinatorial algorithms: ch.7 Combinatorial searching, ch.8 Recursion -- V.5)
Syntactical algorithms: ch.9 Lexical scanning, ch.10 Parsing techniques -- V.6) Theory
of languages: ch.11 Mathematical linguistics -- V.7) Compilers: ch.12 Programming
language translation. 

Knuth has designed the books so that they may be used as references as
well as self-study and formal courses to teach the reader how to write 
efficient algorithms. They will be an invaluable
source to composers who must be familiar with the use of algorithms as a 
compositional tool.
Knuth proves himself to be a fine teacher as well as a thorough scholar.
The books are fascinating and thoroughly enjoyable to read at any level. They are
also well printed and quite free from typographical errors.


.skip 3;
.SPACES 1;
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//Proceedings of the International Computer Music Conference, Queens College
(Nov. 1980)/ ⊗⊗See entry under BIBLIOGRAPHIC WORKS.⊗
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%5SOUND 
RECORDINGS
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[⊗⊗SR7⊗]  CCRMA demo tape (Sound recording)- CCRMA Recording Studio, [197-]
     1 sound tape reel : varying speeds, 4-track, quad. ; 10 in., 1/4 in.
   tape.  Tails out.

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This tape demonstrates the effect of additive synthesis on timbre.  It
also includes samples of frequency modulation and psychoacoustics   
(through the synthesis of moving sound sources in a 360 degree
soundspace).  //Turenas/, a composition by John Chowning (also on the tape)
was the first to make extensive use of FM and sound paths.


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[⊗⊗SR29⊗] McNabb, Michael. //Dreamsong/. - CCRMA Recording Studio, 1978.
     1 sound tape reel : 15 ips, 2-track, stereo ; 10 in., 1/4 in. tape.  
     Tails out.

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This tape combines a number of computer techniques.  It is an example of
concrete music where recordings of naturally occurring sounds are manipulated.
Dreamsong features a mixture of synthesized, digitally recorded and re-
synthesized, and recorded and digitally processed sounds.   Other techniques
utilized are FM and comb-filtering.
The work was a winner in the 1978 composer's competition of the League of
Composers - International Society for Contemporary Musicians, and in 1979 won
an honorable mention in the Electro-acoustic Music Contest of the Groupe de
Musique Experimentale de Bourges.

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[⊗⊗SR14⊗] International Computer Music Conference, San Diego, 1977.
     Non linear synthesis demo. - CCRMA Recording Studio, 1977.
     1 sound tape reel : varying speeds, 4-track, stereo ; 7 in., 1/4 in.
   tape.  Heads out.
     
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This tape demonstrates the non-linear synthesis techniques of FM and 
waveshaping. A cello, piano, and orchestra are simulated using FM, and a
violin is simulated using waveshaping.  Some short pieces and fragments of
pieces by Bill Schottstaedt utilizing the waveshaping technique are also 
included.

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[⊗⊗SR17⊗] Nevada concert. - CCRMA Recording Studio, 1979.
     1 sound tape reel : 15 ips, 4-track, quad., DBX II ; 10 in., 1/4 in.
   tape.  Heads out.

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This is a concert tape of pieces realized at CCRMA using the Systems
Concept digital synthesizer (also known as the Samson box)
//A garden for Orpheus/ by Paul Wieneke explores the critical
band phenomenon -- a means for evaluating acoustic dissonance between
pure tones.
//Nekyia/ by Gareth Loy is another example of concrete music
combining naturally occurring sounds with synthesized sounds. 
It won 2nd. Prize in the Digital Music category at the
9th International Electroacoustic Music Awards, Bourges, France, 1981.
//Daily life among the Phrygians/ by Bill Schottstaedt uses an orchestra
of FM instruments.
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Chowning, John M. ⊗⊗The synthesis of complex audio spectra by means of frequency
modulation.⊗ //Journal of the Audio Engineering Society/, Vol.21, no.7 (Sept. 1
973).
pp.526-534.

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This is the classic article on frequency modulation in music synthesis.  It
discusses a technique developed by the author which utilizes the equations
of frequency modulation in the generation of audio spectra.  Basically,
FM synthesis consists of modulating one sinusoid by another.
Using this technique (which is much simpler than additive or subtractive
synthesis), it is easy to obtain rich time-varying spectra, but 
difficult to obtain specific desired spectra.
With the aid of diagrams, equations, and graphs, Chowning describes the concepts
involved in FM, the different spectra involved, and defines the simulation
of brass, woodwind, and percussive sounds using his techniques.

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LeBrun, Marc. ⊗⊗Digital waveshaping synthesis.⊗  //Journal of the Audio 
Engineering Society/, Vol.27, no.4 (April 1979). pp.250-266.

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This is also a classic article on the synthesis process of waveshaping. 
Waveshaping consists of looking up a complex stored waveform by means of a
sinusoid. A waveform which produces any desired periodic signal can be stored.
Nonlinear spectral transformations can be obtained by modifying the amplitude
of the look-up sinusoid.
LeBrun mathematically derives various shaping functions, and shows their effect
on the waveforms via graphs.  He includes eight programs
demonstrating how to implement his computations on the computer. A short
list of references appears at the end of the article.
The article presents many complicated concepts in an a concise way.  The 
technical nature of the material would make difficult reading for someone 
unfamiliar with trigonometry and analysis.

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Moore, F.R. ⊗⊗An introduction to the mathematics of digital signal processing : 
part I: algebra, trigonometry, and the most beautiful formula in mathematics.⊗
//Computer Music Journal/, Vol. II, no. 1.  pp.38-46.

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This is the first of two articles especially designed for musicians to provide 
the basic mathematical ideas needed to deal with music signal processing.
It reviews algebra and trigonometry treating the areas of equations, graphs,
polynomials, logarithms, complex numbers, infinite series, radian measures, and
basic trigonometric functions.  In the last section he demonstrates the use
of trigonometric functions in the representation of musical sounds. A problem
set is included at the end to test the reader's comprehension of the concepts
presented.

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Moore, F.R. ⊗⊗An introduction to the mathematics of digital signal processing : 
part II: sampling, transforms, and digital filtering⊗. //Computer Music 
Journal/, Vol. II, no. 2.  pp.38-60.

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Part II discusses the application of the concepts presented in part I in the
Fourier and z- transforms, transfer functions, impulse response, convolution, 
poles,
and elementary filtering. The author operates on the assumption that the reader
has worked his way through and fully comprehends the material in the first part.
The article ends with more problems and a list of references.  The combination
of the two articles provides a valuable tutorial for those unfamiliar with the
intricate math of signal processing.  They present a broad overview by outlining
main ideas omitting the mathematical proofs, and attempt to avoid complicating
matters by stopping just short of the use of calculus.

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Strawn, John, ed.  ⊗⊗Lexicon of analyzed tones : analysis and plotting programs
by James A. Moorer and John Grey. Part 2: Clarinet and oboe tones.⊗ //Computer
Music Journal/, Vol.1, no.3. pp.12-29.
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This is a good introduction to additive synthesis using the analysis of clarinet
and oboe tones.  Strawn discusses traditional concepts of timbre as being 
determined
by the relative strengths of the harmonics in the steady-state portion of a tone.
The above conclusion of Helmholtz was inspired by the discovery by physicist
Fourier that a periodic waveform may be represented as the sum of simple
sinusoidal waveforms. Strawn demonstrates the above acoustical concepts 
by plotting out the various waveshapes produced by adding sine waves.  
Using the analysis and plotting programs of James A. Moorer and John Grey, 
he then produces amplitude and
frequency plots of the first 21 partials of a clarinet and an oboe tone.
Finally he links the two by proposing simulating a clarinet tone by using
computer-generated sine waves at appropriate frequencies and amplitudes (additive
synthesis) The article contains some math (though not enough to be overwhelming)
and includes a list of references at the end.
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%1//Whew!/  What a topic!  Some people can't see the forest for the trees.
Well, I couldn't even comprehend the branches or roots for the trunk!
Since the topic involves 4 disciplines, three in which I have only a
minimal knowledge, I felt the most of my time was spent doing remedial
reading in order to grasp the most basic concepts.  I DID learn a lot,
but it took a long time for me to be able to narrow down the fields to
the specific areas appropriate to music (particularly in engineering
and math -- I've never //seen/ such complicated jargon)  The field
of computer music is new, and consequently inspires all sorts of
"bandwagon" publications.  I got to be pretty good at weeding these out.

I included the sound recordings because I feel that many people have a
misconcieved notion as to how computer music sounds.  They expect it to
be beepy, periodic, and metallic.  In fact some computer music is
extraordinarily lyrical, some is amusing, and some is (yes) beepy, periodic,
and metallic.  But all types represent a new compositional form which 
promises heights of expressivity never attainable before.

If I had to do this project over again, I'd first get a Ph.D. in 
engineering.