دانلود کتاب مقدمه‌ای بر موسیقی کامپیوتری

Computers have become part of nearly every aspect of our daily lives. We find computers almost everywhere: communication, design and construction, health, business, automobiles, science and entertainment. Computers became part of music exploration and creation even before many other computer applications we see today. As computing experienced an exponential growth, the integration of computing into music composition, performance, production and distribution grew in proportion. Now, it is unusual to encounter any music that is untouched by computing. With all the digital tools and possibilities that exist today, it is important for anyone interested in music creation or analysis to have some basic knowledge of computer music, which I consider to be anything that involves both computation and music, including music synthesis, music signal processing, music composition by computer, all forms of music analysis using computational techniques, digital musical instruments and interactive music performance systems, music recommendation systems, machine learning applied to music recognition, creation, classification, processing, digital music typography and notation, music performance over digital networks, and much more. In fact, progress has been so rapid that there are now many specialized areas, academic conferences and publications under the broad umbrella of computer music. As students and others are attracted to one specialization or another, often with a strong background in music or engineering, they often miss out on fundamental knowledge that is not today’s “hot topic.” Underlying cutting-edge research in music and computation, there is a wealth of basic knowledge that may not be apparent or taught in introductory music or engineering classes, leaving researchers new to the area at a disadvantage and even unaware of the rich body of knowledge that developed across disciplines of music, electrical engineering and computer science. This book was created for computer science students, intending to contain “what every computer scientist should know” about the subject of computer music. However, the book does not assume even an undergraduate degree in computer science, and much of the material can be understood with only general knowledge of computing and music. I have been inspired by my former teacher, Arthur Benade, whose class and text on Fundamentals of Musical Acoustics was a brilliant combination of intuitive explanations backed by some rigorous statements, all without requiring a mastery of music, physics, differential equations, or even calculus. He taught a mix of physics and music undergraduates, and yes, even this computer science graduate student. I cannot claim to have achieved the success of Prof. Benade’s teaching across multiple disciplines, but I have tried. This book uses the Nyquist programming language to illustrate many concepts and to provide a vehicle for further exploration of music synthesis and composition by computer. Nyquist is designed for novice programmers, but some prior programming experience will be very helpful. Nyquist has an extensive reference manual, including a language introduction, which is included when you download Nyquist. Along with this publication, a wealth of online material including slides, video lectures, and exercises has been released. These were originally part of an online instruction system, but they have been reorganized as simple documents to allow for greater access and longevity. I hope readers and educators will find them useful.