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Roads C., Pope S.T., Piccialli A., de Poll G. (eds.) Musical Signal Processing

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Roads C., Pope S.T., Piccialli A., de Poll G. (eds.) Musical Signal Processing
Swets & Zeitlinger Publishers, 1997. — 490 p.
Once an esoteric science, the synthesis and processing of digital sound takes on ever greater importance in the age of multimedia computing on a global scale. Recordings and films showcase spectacular sound transformations; synthesizers and sound cards bring audio signal processing to millions of users. Less visible to the public, but in no way less interesting, a new generation of composers versed in signal processing techniques are creating a highly refined form of musical art.
The study of audio signal processing splits into two main branches: engineering and musical. The engineering approach adheres to a standardized body of knowledge and techniques. It often starts from acoustical models, such as a generic speaking voice or a lecture hall. Its typical applications are broadcasting and communications, simulations, compression of data, computational efficiency, and encoding/decoding techniques. Problems in the engineering world are solved with respect to well-defined, quantifiable criteria such as cost, fault rates, speed benchmarks, and differential errors.
The musical approach to sound processing has different goals. It is driven by the sharp demand for electronic music instruments and effects processors, by the creative possibilities of multimedia, and by the expressive needs of musicians. New synthesis techniques extend the musical palette. Musical transformations must satisfy not only mathematical criteria, but must also pass the muster of aesthetics. Sound analysis searches for the musical significance in the data-identifying the source instrument, detecting the pitch, tracing the intensity envelope, separating harmonics and noise, recognizing the rhythm, and isolating formant regions, intermodulations, and other patterns in the spectrum. Musical Signal Processing opens the door to the main topics in musical signal processing today, beginning with basic concepts, and leading to advanced applications. Part I presents a tutorial on signals, analysis/resynthesis, and synthesis techniques. Part II presents innovative topics on the leading edge of current research. Part III looks at ways of representing and manipulating the macrostructure of music signals. Part IV shows how signal processing can be applied in music compositions.
Prepared over a period of four years, Musical Signal Processing is designed to be adopted in courses on musical sound synthesis and sound processing, in research centers, conservatories, and university departments of music, acoustics, computer science, and engineering. The audience includes electronic and computer musicians, engineers, acousticians, and instrument designers. The chapters in Musical Signal Processing have been written according to a two-part structure: the first half tutorial, the second half advanced. Thus any chapter should be accessible to students of the field.
Part I Foundations of Musical Signal Processing
Musical Signal Synthesis
Introducing the Phase Vocoder
Musical Sound Modeling with Sinusoids Plus Noise
Part II Innovations in Musical Signal Processing
Wavelet Representations of Musical Signals
Granular Synthesis of Musical Signals
Musical Signal Analysis with Chaos
Acoustic Modeling Using Digital Waveguides
Part III Musical Signal Macrostructures
Programming Language Design for Music
Musical Object Representation
AI-Based Music Signal Applications - a Hybrid Approach
Part IV Composition and Musical Signal Processing
Notations and Interfaces for Musical Signal Processing
Sound Transformation Convolution
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