bradr@bartok.Eng.Sun.COM (Brad Rubenstein) (06/30/90)
Music-Research Digest Fri, 29 Jun 90 Volume 5 : Issue 63
Today's Topics:
Books on massaging waveforms...
Call for papers, Belfast 1991 - reminder
Computer music references
Looking for Apple ][gs software
Orig. mus. notation message
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Date: 28 Jun 90 00:02:56 GMT
From: Greg Sandell <sandell%ils.nwu.edu%anaxagoras%accuvax.nwu.edu%nucsrl%tellab5%mcdchg%att@edu.berkeley.ucbvax>
Subject: Books on massaging waveforms...
To: music-research@prg
Message-ID: <987@anaxagoras.ils.nwu.edu>
In article <4090@uqcspe.cs.uq.oz.au>, tonyg@batserver.cs.uq.oz.au (Tony
Gedge) writes:
> Can someone point me towards a good starting book in manipulating
> sampled sound? I want to do things like:
>
> * Raise and lower the pitch of samples without changing the speed
> that samples are played.
> * Mix two or more samples together.
> * Change the sampling rate.
>
I would get the new book on Computer Music by F. R. Moore which is out
in Prentice-Hall, 1990. The title is something like (sorry, I don't have it
here in my office) THE ESSENTIALS OF COMPUTER MUSIC.
The task of changing the pitch of a soundfile without changing its apparant
speed or duration (which is what I think you are trying to describe above)
is a problem which requires large amounts of number crunching; it takes
quite a long time to make such a conversion (like, maybe 60 seconds for
a one second soundfile on a powerful computer). The
algorithm I know of which does this is the Phase Vocoder, for which
C code is provided in Moore's book.
The second two questions I don't know quite as much about, but I believe
if you simply add samples together and then normalize them so you don't
get samples out of range, you get mixed samples. For changing the
sampling rate, if you are going from a higher sampling rate to a lower
one, you can keep one sample, delete the next (new_samp_rate/old_samp_rate)
samples, and keep doing this for the rest of the soundfile. I have done this
in going from 22000k to 8000k and the results sound just fine. Somehow
I suspect this is not the most HiFi way to do this task, though. As for going
from a smaller sampling rate to a larger one, the strategy of duplicating
samples in the equivalent way will *definitely* not work!
------------------------------
Date: Fri, 29 Jun 90 10:21 GMT
From: "A.MARSDEN" <EJHI4978@UK.AC.QUEENS-BELFAST.CENTRE.VAX1>
Subject: Call for papers, Belfast 1991 - reminder
To: MUSIC-RESEARCH@prg
The deadline for receipt of abstracts for the conference Computers in Music
Research to take place at Queen's University, Belfast in April 1991 is
1st August - just a month away (less by the time you read this). If you
plan to submit a proposal, do not be late because one hard-working member
of our committee plans to take abstracts away with him to read on holiday at
the beginning of August! Post from outside Europe takes about 7 days to
reach me, but allow 10 to be safe. Allow 6 days from Europe. Note that
the preferred method of submission is by email.
If you missed the original call for papers, see MRD v.5 no.24, or ask me.
Alan Marsden <A.Marsden@uk.ac.qub.v1>
Music Dept., Queen's University, Belfast
------------------------------
Date: 29 Jun 90 18:12:16 GMT
From: Kouhia Juhana Krister <jk87377%korppi.tut.fi%tut%sunic%luth%eru@edu.mit.bloom-beacon>
Subject: Computer music references
To: music-research@prg
Message-ID: <1990Jun29.181216.18588@funet.fi>
Hi,
Here is some articles I have and I think that they are useful when
making own digital audio signal processing program.
I would like to see them more, so, if somebody has additions or
corrections to this list, please post or Email.
What format I should use for keeping them in order? If any?
(Now this list is a quite mess.)
I have found a really good reference lists of computer graphics,
but I haven't seen any of computer music.
Is there any exists?
Juhana Kouhia
jk87377@tut.fi
Articles:
---------
AES = Journal of the Audio Engineering Society
James A. Moorer
The use of the phase vocoder in computer music applications
AES, 1978 January/February
James A. Moorer
The manifold joys of conformal mapping:
Applications to digital filtering in the studio
AES, 1983 November
James A. Moorer
Mark Berger
Linear-phase bandsplitting: Theory and applications
AES, 1986 March
James A. Moorer
Curtis Abbott
Peter Nye
Jeffrey Borish
John Snell
The digital audio processing station: A new concept in audio
postproduction
AES, 1986 June
Marie-Helene Serra
Dean Rubine
Roger Dannenberg
Analysis and synthesis of tones by spectral interpolation
AES, 1990 March
John Strawn
Analysis and synthesis of musical transitions using the discrete
short-time Fourier transform
AES, 1987 January/February
John Strawn
Editing time-varying spectra
AES, 1987 May
Books:
------
Foundations of computer music
Ed. Curtis Roads
John Strawn
Includes:
Richard Cann
An analysis/synthesis tutorial
James A. Moorer
About this reverberation business
Digital audio signal processing: An anthology
Ed. John Strawn
ISBN 0-86576-082-9
Index:
F. R. Moore
An introduction to the mathematics of digital signal
processing
J. O. Smith
An introduction to digital filter theory
T. L. Petersen
Spiral synthesis
J. A. Moorer
Signal processing aspects of computer music: A survey
J. W. Gordon
J. Strawn
An introduction to the phase vocoder
----
------------------------------
Date: 27 Jun 90 05:16:08 GMT
From: System Administrator <mikeu%pro-magic.cts.com%crash%ucselx%usc%zaphod.mps.ohio-state.edu@edu.ohio-state.cis.tut>
Subject: Looking for Apple ][gs software
To: music-research@prg
Message-ID: <3315@crash.cts.com>
I have a friend who is a music teacher using an Apple ][gs. Right now she
teaches middle school and high school students using Activisions's Music
Studio. She would like to know if there are any other creative music progams,
besides Audio Animator, that are available to help in her task.
______________________________________________________________________________
Mike Ungerman |Proline:mikeu@pro-magic
Pro-Magic BBS: 407-366-0156 |uucp:crash!pnet01!pro-magic!mikeu
300/1200/2400/9600 Baud 24hrs |arpa:crash!pnet01!pro-magic!mikeu@nosc.mil
Apple Tree of Central Florida, Inc |Internet:mikeu@pro-magic.cts.com
Orlando, Florida|Voice:407-366-0060|Compuserve:71326,31 Prodigy: JSNP58A
------------------------------
Date: 26 Jun 90 21:30:00 EDT
From: "Dr. Karl Signell; MUSC" <signell@edu.umbc.umbc2>
Subject: Orig. mus. notation message
To: spage <spage@prg>
Darwin Roberts asked about IBM music notation programs in ERD. It's
like buying a new car: how much can you afford? Is appearance
important? Do you need to explore unfamiliar terrain or well-traveled
roads?
The newly-released _Finale_ 1.0 for the IBM
can do nearly everything you might wish. List price is US$599, to rise
to $749 when all the bells and whistles are on. It's user-friendly,
looking exactly like the famous Macintosh _Finale_.
By the way, you'll need MicroSoft Windows 3, a mouse, at least 1Meg of
RAM, and a minimum of 5M of hard disk storage space. My review of it,
6 IBM and 5 Mac music notation programs will appear in _Journal of the
American Musicological Society_ in Spring 1991 (!). In the
meantime, there's an excellent review of IBM programs in the March 1990
issue of MLA _Notes_ by Garrett Bowles. Other user-friendly programs
would be _MusicPrinter Plus_ ($595) and _Personal Composer_ ($445).
Reviews of IBM _Finale_ should appear soon in the trades: _Electronic
Musician_; _Keyboard_, _Music, Computer, and Software_; _PC Magazine_.
Look for a review also in _Computer Music Journal_ and MLA _Notes_.
I would advise your friend to think carefully about his/her needs before
investing money and lots of hours learning a program. Most large music
stores have info and demo programs in their keyboard departments.
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End of Music-Research Digest