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The fourth edition of this book in Chinese is published in March 2014.
MySQL (beta) at CHEARSdotinfo.co.uk 1 CROSSING THE THRESHOLD A Delineation of the Two Key Areas This is text will focus on two key ares, although not exclusively. To speak of sound-based music without acknowledging its much older partner, the music of notes, would to ridiculous. Similarly, to discuss music that uses technology without allowing acoustic creativity to take place is equally absurd. Nonetheless, the two key areas are the reason for the book's existence. Let's briefly attempt to draw a virtual fence around these foci. Sound-Based Music Making Music with Technology
MySQL (beta) at CHEARSdotinfo.co.uk pp.19 to 23 (B) Commencing the Classification Debate: Is Sound Art Music? We will investigate this question of placement through four hypothetical examples. (1) The first concerns an interactive sound installation. (2) The second example involves a piece of electroacoustic art music that is clearly more sound- than note-based. (3) The third example involves electroacoustic processes and an overtly sound-based introduction. (4) A fourth example possesses a much shorter duration, but it also reaches a mass public: the sound design for a television advertisement. (C) The Terminology Debate: Defining the Main Terms The term "the art of sound organization" has been chosen in the title to describe this area, thus ignoring the state of current technology. "Sound organization" is related to its cousin, "organized sound,"... Organized sound This is the term adopted by the composer Edgard Varese to describe his music. His use of this term reflects in particular his insistence on the musical potential of an expanding "palette" of possible sounds for use in the concert hall, in particular, new kinds of percussion, electronically generated sounds, and recorded sounds.
《计算机音乐教程》分为七个部分，每一部分包括了若干章节。 第一部分基础概念，介绍数字音频和计算机技术。 第二部分集中在数字声音合成。第3章到第8章介绍了主要的合成方法，包括对实验性和商用性都有效的方法。 第三部分混音和信号处理，包括四章内容，让这些有时令人难以捉摸的主题不再显得神秘，包括混音、滤波、延迟效应、混响和空间操控。 第四部分的主题是声音分析，占有支配地位，它是很多音乐应用如声音转化、交互式演奏与音乐录制的关键，包括音高、节奏和频谱的计算机分析。 第五部分主要介绍计算机音乐系统有关音乐家界面的重点主题。其中，第14章的主题是演奏者可操控的物理设备，第15章研究了解释演奏者姿态的软 件。第16章是对音乐编辑系统的一个概观。音乐语言是第17章的主题。第五部分的最后两章(第18、19章)介绍了算法作曲。 第六部分解密计算机音乐系统，第20章考察数字信号处理器的内部构建，第21章讨论流行的MIDI接口协议，最后，第22章介绍了计算机、输人设备及数字信号处理硬件之间的互连。 第七部分介绍心理声学也就是探讨听觉，即人类感知。有关心理声学基本概念的知识在以下几个方面有助于计算机音乐的研究，包括声音设计、混音以及解释信号分析程序的输出。 本书的最后部分是一个技术性附件，为读者介绍傅里叶分析的历史、数学原理及整体设计,特别是快速傅里叶变换，这也是计算机音乐系统普遍使用的工具。
