Experiencing Music Technology (with DVD-ROM)

by Williams, David Brian; Webster, Peter Richard

• ISBN13: 9780534176723
• ISBN10: 0534176720
• Additional ISBN(s): 9780028653242, 9780495565543
• Edition: 3rd
• Format: Paperback
• Copyright: 2005-03-23
• Publisher: Schirmer
• More Book Details
• Purchase Benefits

Summary

Viewport I: MUSICICANS AND THEIR USE OF TECHNOLOGY. 1. People Making Technology. 2. People Using Technology. 3. People Questioning Technology. 4. People Helping With Technology. Viewport II: COMPUTER AND INTERNET CONCEPTS FOR MUSICIANS. 5. Computer Operating Systems and Internet Software. 6. Computer and Networking Concepts. 7. The Mechanics of Computers and Networking. Viewport III: DIGITAL AUDIO BASICS. 8. Acoustics, Digital Audio, and Music Synthesis. 9. Software for Capturing, Editing, and Storing Digital Audio. 10. Building a No-Frills Digital Audio Workstation. Viewport IV: DOING MORE WITH DIGIAL AUDIO. 11. Sonic Realism: MPEG, Surround Sound, and Laser Discs. 12. Software for Multiple Tracks and Channels. 13. Hardware for Multi-Channel Digital Audio. Viewport V: MUSIC SEQUENCING AND MIDI BASICS. 14. How MIDI Works. 15. Software Techniques for MIDI Sequencing. 16. MIDI Hardware: Interfaces, Keyboards, and Sound Modules. Viewport VI: DOING MORE WITH MIDI AND BEYOND. 17. Adventures in Sound Shaping and Synthesis. 18. Extending MIDI: Controllers, SoundFonts, and Timing. Viewport VII: MUSIC NOTATION. 19. Coding Systems for Music Notation and Performance. 20. Software for Music Notation. 21. Notation Hardware: Input Devices, Scanners and OMR, and Printers. Viewport VIII: COMPUTER-AIDED INSTRUCTION IN MUSIC. 22. Music Software for Knowledge and Skill Development. 23. New Directions in Music Instruction Software. Viewport IX: PUTTING IT ALL TOGETHER.

Table of Contents

Preface	xxiii
So, What's New?	xxiv
Book Content and Goals	xxv
Experiencing Music Technology Companion DVD-ROM and Support Website	xxvi
Icons in the Margin of the Book	xxvi
Definitions	xxvii
Acknowledgments	xxviii
About the Authors	xxix
VIEWPORT I Musicians and Their Use of Technology	1	(24)
Overview	1	(2)
Objectives	1	(1)
DVD-ROM Software Projects	2	(1)
People Making Technology	3	(9)
Ballet of Technology and Music	3	(1)
Five Periods of Technology History	4	(8)
Period I (1600s--mid-1800s)	4	(1)
Period II (mid--1800s-early 1900s)	4	(1)
Period III (early 1900s--mid-1900s)	5	(2)
Period IV (mid--1900s-1970s)	7	(1)
Period V (1970s--present)	8	(4)
People Using Technology	12	(5)
The Unexpected Turn	12	(1)
Innovation and Creativity	13	(2)
Pacing	15	(1)
Music Technology in Practice	15	(2)
People Questioning Technology	17	(4)
Ten Misconceptions	17	(3)
No. 1. Does technology refer only to hardware?	17	(1)
No. 2. Is there intimidating hidden ``knowledge'' inside the hardware?	17	(1)
No. 3. Will the hardware break if something is done incorrectly?	18	(1)
No. 4. Isn't computer technology really reserved for the technical elite?	18	(1)
No. 5. Doesn't computer technology take too long to learn?	18	(1)
No. 6. Isn't computer technology only for the young?	18	(1)
No. 7. Doesn't technology remove the creative spirit, producing music that is antiseptic or sterile?	19	(1)
No. 8. Aren't computers, digital audio, MIDI, and DVDs, when used for teaching about music, just another expensive set of technological gimmicks that take time and money away from the real business of music education?	19	(1)
No. 9. Doesn't technology, not music, become the focus?	19	(1)
No. 10. Isn't it true that technology replaces musicians' jobs?	19	(1)
Resulting Attitudes	20	(1)
People Helping with Technology	21	(4)
People with Technical Skills	22	(1)
Computer Facilities	22	(1)
Print and Nonprint Materials	22	(1)
Professional Associations	22	(3)
VIEWPORT II Computer and Internet Concepts for Musicians	25	(50)
Overview	25	(1)
Objectives	25	(1)
DVD-ROM Software Projects	26	(1)
Music Technology in Practice	26	(1)
Chi Fan	26	(1)
Computer Operating Systems and Internet Software	27	(19)
The Desktop: Your Computer and Its Operating System	27	(2)
The Function of an Operating System	27	(1)
Streams of Information	27	(2)
Look and Feel: Graphic User Interface (GUI)	29	(1)
Staying Organized with Hierarchical File Structure	29	(2)
Volumes, Folders, Files	29	(1)
Naming Files	30	(1)
Important Work Habits	31	(4)
Saving Files	31	(1)
Importance of Copyright	32	(1)
Viruses Defined	33	(1)
Backing Up	34	(1)
Additional Good Habits for Computer Maintenance	34	(1)
Other Operating Systems	35	(1)
Unix	35	(1)
Linux and the World of Open Source Code	35	(1)
Extending the Desktop: Connecting to the Internet	36	(1)
Types of Internet Software	36	(10)
Web Surfing and Searching	37	(4)
Browsing Software Support for Other Internet Services	41	(1)
Electronic Mail/Listservs	41	(1)
Digital Audio Purchasing/Sharing	42	(1)
Chat	43	(1)
Forums, News Reading, and File Transfers	44	(1)
Additional Uses of the Internet with Music Software	45	(1)
Computer and Networking Concepts	46	(11)
Analog to Digital: Computers and the Analog World	46	(2)
Counting and Thinking with 1 and 0	47	(1)
Computer Bits and Bytes	48	(1)
Serial and Parallel: Computers and Their Peripherals	48	(1)
Expressing Data in Parallel Form	48	(1)
Expressing Data in Serial Form	48	(1)
Internet Protocols: Computers Connecting to the Internet	49	(3)
Internet Addressing	50	(1)
Server Internet Addresses	50	(1)
E-Mail Internet Addresses	51	(1)
The Internet 2 Fast Lane	51	(1)
File Formats: Sharing Files over the Internet	52	(5)
Packaging and Compressing Files	52	(1)
Exchanging Documents with Universal File Formats	53	(2)
Exchanging Digital Audio and MIDI	55	(1)
Exchanging Graphics and Video	55	(2)
The Mechanics of Computers and Networking	57	(18)
Computer Hardware Operations and the IPOS Model	57	(10)
Interfaces	57	(3)
Process	60	(2)
Input	62	(1)
Output	63	(1)
Storage	63	(3)
CD and DVD Storage	66	(1)
Networking: Routes to Connectivity	67	(8)
Getting Access	67	(1)
Talking among Computers	67	(1)
Network Topologies	68	(2)
Getting Connected	70	(5)
VIEWPORT III Digital Audio Basics	75	(68)
The Big Picture	75	(2)
Viewport III Overview	77	(1)
Objectives	78	(1)
Music Technology in Practice	78	(3)
Nate DeYoung	78	(1)
Kevin Robbins	79	(1)
DVD-ROM Software Projects	80	(1)
Acoustics, Digital Audio, and Music Synthesis	81	(22)
Acoustical and Perceptual Dimensions of Sound	81	(9)
Vibrations, Frequency, and Amplitude	84	(2)
Envelopes	86	(1)
Harmonic Spectrum	87	(1)
Overtones	88	(1)
Harmonic Spectrum and Fourier's Theorem	88	(2)
Summary of the Acoustic Properties of Sound	90	(1)
Concepts of Digital Audio and Sampling: Analog to Digital and Back	90	(5)
Sampling Rates and Quantizing	92	(1)
Optimizing the Quality of Digital Audio	92	(3)
Formats and Compression for Storing Digital Audio Files	95	(4)
Sound Compression	96	(1)
Increasing Compression While Fooling the Ear	97	(1)
Streaming Audio Files for the Internet	98	(1)
Varieties of Music Synthesis Techniques	99	(4)
Analog Synthesis: Additive, Subtractive, and Distortive	99	(1)
Physical Modeling	100	(1)
Digital Wave Synthesis	101	(1)
Granular Synthesis	102	(1)
Software for Capturing, Editing, and Storing Digital Audio	103	(24)
Working with Digital Audio on the Web	103	(5)
Obtaining Web Music Files	104	(1)
Organizing and Playing Web Music Files	105	(1)
Creating and Storing Your Own Web Music Audio	106	(2)
Working with Streamed Media	108	(1)
Streaming Audio in Action	108	(1)
Preparing Your Computer for Digital Audio Recording	109	(1)
PC Computers	109	(1)
Macintosh Computers	110	(1)
Using Digital Audio Editing Software	110	(17)
What Is Digital Audio Editing Software?	110	(1)
Basic Capture and Display of Digital Audio Editing Software	111	(1)
Basic Editing and File Management	112	(2)
Advanced Editing and File Management	114	(4)
Effects Processing	118	(3)
Advanced Effects Processing	121	(4)
Plug-In Support for Digital Audio Editors	125	(2)
Building a No-Frills Digital Audio Workstation	127	(16)
IPOS Model	127	(1)
Basic Digital Audio Hardware: ADCs and DACs	128	(3)
Digital Audio Interface	129	(1)
Input and Output: Connecting to the Outside World	130	(1)
Sound Drivers and Latency: Who's in Charge Here?	131	(1)
Sorting Out Plugs and Jacks	132	(2)
Adding a Mixer and Performance Options with EMT-3	134	(3)
Mixer Input Controls	136	(1)
Mixer Output Controls	137	(1)
Microphones	137	(2)
Storage Devices for Digital Audio Work	139	(1)
CD/DVD-R and-RW Storage	140	(1)
Digital Music Players	140	(1)
Speakers and Recorders	140	(3)
VIEWPORT IV Doing More with Digital Audio	143	(70)
Overview	143	(1)
Objectives	143	(1)
Music Technology in Practice	144	(3)
John Shirley	144	(1)
Aaron Paolucci	144	(2)
DVD-ROM Software Projects	146	(1)
Sonic Realism: MPEG, Surround Sound, and Laser Discs	147	(20)
Multichannel Digital Audio Formats	147	(8)
MPEG	148	(4)
Surround-Sound Audio Formats	152	(3)
CD and DVD Laser Disc Formats	155	(12)
General Characteristics of CD and DVD Laser Discs	155	(3)
Compact Laser Disc Playables and Recordables	158	(3)
Digital Versatile Discs (DVDs)	161	(6)
Software for Multiple Tracks and Channels	167	(30)
Important Terms	167	(3)
Types of Multiple-Track Software	167	(2)
Tracks and Channels	169	(1)
Effects, Inserts, and Buses	169	(1)
Preparing Your Computer for Digital Audio and MIDI Input and Output	170	(1)
PC Computers	170	(1)
Macintosh Computers	170	(1)
Recording, Editing, and Using Built-In Effects	171	(8)
Starting a Project	172	(1)
Editing	173	(3)
Built-In Effects	176	(3)
Effects Plug-Ins	179	(4)
Categories of Plug-Ins	179	(1)
How Plug-Ins Are Called into Action	179	(1)
Overview of Effects Plug-Ins	180	(3)
Loop-Based Software	183	(7)
Slicing Digital Audio	184	(1)
The ACID Scene and Looping Software	184	(3)
Other Looping Software	187	(3)
Mixing, Mastering, and Distributing	190	(7)
Mixing and Mastering: Really the Same Thing?	190	(1)
Working with Mixing and Mastering	191	(1)
Tips for Mixing and Mastering	191	(1)
Mixing with Surround Sound	192	(1)
Distribution	193	(4)
Hardware for Multichannel Digital Audio	197	(16)
IPOS Model for Multichannel Digital Audio	197	(1)
Superheroes: The DSP Chips	198	(1)
One-on-One with Digital: S/PDIF, AES/EBU, ADAT, Firewire, and USB	199	(2)
S/PDIF and AES/EBU: Close Cousins	199	(1)
ADAT	200	(1)
EMT Digital Audio Workstation Goes Multichannel	201	(5)
Expanding to Multichannel Digital Sound	202	(3)
Moving Up to Surround Sound	205	(1)
Recording and Playback in the Digital Realm	206	(7)
CD and DVD Recordable Drives	207	(1)
DAT and ADAT Recorders	207	(1)
MiniDisc (MD) Recorders	207	(1)
Stand-Alone Digital Recorders	208	(3)
Surround-Sound Amplifiers and Speakers	211	(2)
VIEWPORT V Music Sequencing and MIDI Basics	213	(56)
Overview	213	(1)
Objectives	213	(1)
Music Technology in Practice	214	(2)
Jeff Shuter	214	(1)
DVD-ROM Software Projects	215	(1)
How MIDI Works	216	(13)
MIDI Sound Structures	217	(1)
MIDI Performance Language	218	(3)
Channel Messages	219	(1)
System Messages	220	(1)
General MIDI	221	(3)
Storing and Exchanging MIDI Files	224	(1)
Experiencing MIDI Software and Hardware	225	(4)
Software Techniques for MIDI Sequencing	229	(21)
Basic Design of Sequencing Software	230	(3)
What Does Sequencing Software Do?	230	(3)
Basics of Using Sequencers with MIDI Data	233	(10)
Entering MIDI Data	234	(3)
Creating the Sequences	237	(2)
Editing and Saving Sequences	239	(4)
Plug-Ins: Applying MIDI Effects and Software-Based Instruments	243	(1)
MIDI Effects	243	(1)
Virtual Instruments	243	(1)
Adding Digital Audio	244	(4)
Basic Entry and Data Representation	245	(1)
Effects Processing	245	(1)
Mixing and Mastering	246	(2)
Saving Sequencing Files	248	(2)
MIDI Content Only	249	(1)
Mixed Data (MIDI/Digital Audio)	249	(1)
MIDI Hardware: Interfaces, Keyboards, and Sound Modules	250	(19)
MIDI Hardware Basics	251	(1)
MIDI Interfaces	251	(4)
MIDI Networks: Physical and Virtual	252	(2)
MIDI THRUs, Mergers, and Patchbays	254	(1)
Beyond 32 Channels	254	(1)
Basic MIDI Keyboard Controllers and Sound Modules	255	(4)
MIDI Sound Modules	255	(3)
Keyboard Controllers	258	(1)
MIDI Workstations	259	(4)
Keyboard	260	(1)
Alternative Controllers	261	(1)
MIDI Capabilities	262	(1)
Sound Generation and Drum Kits, Sample Playing, and Real-Time Sampling	263	(6)
Drum Kits and Sounds	264	(1)
Synthesis and Digital Effects	264	(2)
Sequencers	266	(1)
Digital Expansion and Connections	267	(1)
Workstations---In Conclusion	268	(1)
VIEWPORT VI Doing More with MIDI and Beyond	269	(62)
Overview	269	(1)
Objectives	269	(1)
Music Technology in Practice	270	(2)
Henry Panion III	270	(1)
DVD-ROM Software Projects	271	(1)
Adventures in Sound Shaping and Synthesis	272	(39)
Digital Audio Workstation (DAW) Software	272	(21)
Interface Features	273	(6)
Editing and Input/Output	279	(5)
Plug-In Effects	284	(3)
Mixing and Mastering with DAW Software	287	(6)
Specialized Plug-In Samplers, Synthesizers, and Virtual Instruments	293	(11)
How Specialized Plug-Ins Are Used	298	(1)
Virtual Instruments	298	(2)
Synthesizers	300	(3)
Synthesizer/Sampler Combinations	303	(1)
``All-in-One'' Virtual Studios	304	(4)
Reason	304	(3)
ReWire Connections	307	(1)
The Future of ``All-in-One'' Virtual Studios	308	(1)
Programming Environments	308	(3)
Max/MSP	308	(1)
Other Programming Approaches	309	(2)
Extending MIDI: Controllers, SoundFonts, and Timing	311	(20)
Controller Cornucopia: Drums, Guitars, Winds, and More	311	(7)
Drum Controllers	312	(2)
Guitar and String Controllers	314	(2)
Voice Controllers	316	(1)
Wind Controllers	316	(1)
Mind-Expanding MIDI Controllers	317	(1)
New Modes of Instrument Expression	318	(2)
Integrating MIDI and Digital Audio	320	(3)
MIDI Control Surfaces	321	(2)
Subjective Factors for MIDI Controllers	323	(1)
Enhancing the MIDI Sound Palette: GS, XG, SoundFonts, and DLS	323	(2)
MIDI SoundFonts	324	(1)
MIDI Down-Loadable Sounds (DLS)	324	(1)
MIDI and Audio Timing: SMPTE, Word Clock, mLAN, and More	325	(6)
Who's Conducting This Group?	325	(1)
Keeping the Tape Time	326	(2)
Keeping the MIDI Time: MIDI Time Codes	328	(1)
ADAT, Word Clock, and Digidesign Sync	328	(1)
mLAN Music Network and Word Clock	329	(2)
VIEWPORT VII Music Notation	331	(72)
Overview	331	(1)
Objectives	331	(1)
Music Technology in Practice	332	(3)
Mike Wallace	332	(1)
Jouni Koskimaki	333	(1)
DVD-ROM Software Projects	334	(1)
Coding Systems for Music Notation and Performance	335	(22)
How Is Notation Represented in a Computer?	335	(2)
Data Structures for Performing and Display	335	(1)
Translating between Performance and Display Data	336	(1)
A Simple Music Coding	337	(2)
Tour of Computer Music-Coding Systems	339	(14)
Pre-1950s: Mechanical Music Coding	339	(2)
1950s to 1960s: Notation to Feed the First Computer Music Synthesizers	341	(1)
Mid-1960s to Mid-1970s: Friendlier Text-Based Music Coding	341	(3)
1970s to Early 1980s: Experimentation and Graphic Display of Notation	344	(1)
Early 1980s: Personal Computers and Consumer Music Systems	345	(1)
Mid-1980s: The Birth of Desktop Music Publishing	346	(1)
Late 1980s and 1990s: Intelligent Rule-Based Music-Coding Systems	347	(1)
1990s: Seeking Interchangeable Notation-Coding Systems	348	(3)
2000s: Web-Based Notation-Coding Systems	351	(2)
Music Fonts for Notation	353	(4)
Bitmapped Versus Outline Fonts	354	(1)
Coding Music-Font Symbols	354	(1)
Lots of Music Fonts	355	(1)
Is WYPWYP Music Software Possible?	355	(2)
Software for Music Notation	357	(40)
Content and Context: What Do You Need?	357	(3)
Basic Operational Features	360	(8)
Help	360	(1)
Interface Design	361	(4)
Getting Started	365	(1)
Score Display	365	(1)
Playback, Printing, and Distribution	366	(2)
Note Entry and Basic Score Design	368	(8)
Methods of Note Entry	368	(5)
Mass Editing	373	(1)
Other Basic Features for Score Design	374	(2)
Advanced Editing	376	(13)
Editing Aids	376	(1)
Transposition and Automatic Arrangements	377	(3)
Enhancing the Score	380	(6)
Text and Lyrics	386	(2)
Chord Symbols and Tablature Notation	388	(1)
Play, Print, and Save	389	(5)
Playback Options	389	(1)
Print Controls	389	(3)
Saving and Distribution	392	(2)
Advanced Capabilities	394	(3)
Additional Capabilities	394	(1)
Plug-Ins	395	(1)
Finale 2005	395	(1)
Sibelius 3	395	(2)
Notation Hardware: Input Devices, Scanners, and OMR	397	(6)
Input Devices for Music Notation	397	(3)
Text and Key Codes from the Computer Keyboard	397	(2)
Graphic Palettes and a Mouse	399	(1)
MIDI Controllers	399	(1)
Singing in the Notes	400	(1)
Scanners and OMR	400	(3)
Optical Music Recognition (OMR)	400	(1)
The Mechanics of a Scanner	401	(2)
VIEWPORT VIII Computer-Aided Instruction in Music	403	(42)
Overview	403	(1)
Objectives	403	(1)
Music Technology in Practice	404	(2)
Susan Young	404	(1)
DVD-ROM Software Projects	405	(1)
Music Software for Knowledge and Skill Development	406	(18)
Importance of CAI	406	(2)
Categories of CAI Software: Approach and Content	408	(3)
Drill-and-Practice	409	(1)
Flexible Practice	409	(1)
Guided Instruction	410	(1)
Exploratory/Creative	410	(1)
Teacher Resource	410	(1)
Internet-Based	411	(1)
Examples of Knowledge and Skill-Development Software	411	(13)
Beginning-Skills Software for Knowledge and Skill Development	411	(2)
Drill-and-Practice Software Examples	413	(2)
Flexible-Practice Software Examples	415	(4)
Guided Instruction	419	(3)
Game-Based	422	(2)
New Directions in Music-Instruction Software	424	(21)
Examples of New Directions in Music-Instruction Software	424	(17)
Exploratory/Creative-Software Examples	424	(8)
Teacher-Resource Software Examples	432	(4)
Internet-Based Software Examples	436	(5)
What to Choose: A Matter of Content and Need	441	(1)
Software from Past Viewports and CAI	442	(3)
VIEWPORT IX Putting It All Together	445	(4)
DVD-ROM Tutorial Materials and Selected Readings	445	(1)
Expanding Your Skills and Creative Urge	445	(2)
Closing Note	447	(2)
Appendix A: Selected Readings by Viewport	449	(4)
Appendix B: EMT Workstation Equipment Codes	453	(2)
Index	455