MARC Record from marc_columbia

LEADER: 03782cam a2200529 i 4500
001 14975297
005 20221111172509.0
006 m o d
007 cr cnu---unuuu
008 200902s2020 nyu ob 001 0 eng d
035 $a(OCoLC)on1192487385
035 $a(NNC)14975297
040 $aYDXIT$beng$erda$epn$cYDXIT$dYDX$dN$T$dCUT$dOCLCF$dWAU$dOCLCQ$dEBLCP$dTSC$dOCLCO$dUKAHL
019 $a1193117459$a1227469211
020 $a9780190659677$q(electronic book)
020 $a019065967X$q(electronic book)
020 $a9780190659684$q(electronic book)
020 $a0190659688$q(electronic book)
020 $z9780190659646$q(hardcover)
020 $z0190659645
020 $z9780190659653$q(paperback)
020 $z0190659653
035 $a(OCoLC)1192487385$z(OCoLC)1193117459$z(OCoLC)1227469211
050 4 $aML1380$b.C53 2020eb
082 04 $a786.7/609$223
049 $aZCUA
100 1 $aClarke, Michael,$d1956-$eauthor.
245 10 $aInside computer music /$cMichael Clarke, Frédéric Dufeu, and Peter Manning.
264 1 $aNew York :$bOxford University Pres,$c[2020]
300 $a1 online resource (xv, 415 pages)
336 $atext$btxt$2rdacontent
337 $acomputer$bc$2rdamedia
338 $aonline resource$bcr$2rdacarrier
504 $aIncludes bibliographical references and index.
505 0 $aJohn Chowning: Stria -- Barry Truax: Riverrun -- Philippe Manoury: Pluton -- Hildegard Westerkamp: Beneath the Forest Floor -- Francis Dhomont: Phonurgie -- Trevor Wishart: Imago -- Jonathan Harvey: Fourth String Quartet -- Cort Lippe: Music for Tuba and Computer -- Natasha Barrett: Hidden Values-The Lock.
520 $a"This publication (the text and the software) aims to explore the relationship between new technical innovations in computer technology for music and the creative practice of composers employing these new techniques. It asks: does the new technology lead to new sounds and new ways of structuring music, and if so how? What are the creative options, sonic and structural, presented by new software and hardware? How can these be manipulated and shaped to form music? How have particular composers developed successful working methods in using this technology? To answer such questions a set of case studies have been examined in depth, specific works in which composers have adopted new techniques, whether developed by themselves or by others. Each of these works has been researched from a number of different perspectives: the technical and musical background, the technology employed in the particular work and, through music analysis, the musical outcome. Innovative approaches have been employed both in undertaking and presenting this research. On the one hand, it has been important to find appropriate ways of presenting the musical potential of what are often highly technical processes. On the other hand, it has been necessary to find ways of analyzing music that often evades even the most basic fundamentals of traditional music analysis: notes, harmonies, or instruments"--$cProvided by publisher
588 0 $aOnline resource-- title from digital title page (viewed on September 02, 2020).
650 0 $aComputer music$xHistory and criticism.
650 7 $aComputer music$2fast$0(OCoLC)fst00872274
655 0 $aElectronic books.
655 4 $aElectronic books.
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
700 1 $aDufeu, Frédéric,$eauthor.
700 1 $aManning, Peter,$d1948-$eauthor.
776 08 $iPrint version:$aClarke, Michael, 1956-$tInside computer music.$b[1.]$z9780190659646$w(DLC) 2020005410$w(OCoLC)1140380705
856 40 $uhttp://www.columbia.edu/cgi-bin/cul/resolve?clio14975297$zAll EBSCO eBooks
852 $blweb