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Resumen
Resumen
Computers in Music Education addresses the question of how computer technologies might best assist music education. For current and preservice music teachers and designed as a development tool, reference resource, and basic teaching text, it addresses pedagogical issues and the use of computers to aid production and presentation of students¿ musical works.
Written by a music educator and digital media specialist, it cuts through the jargon to present a concise, easy-to-digest overview of the field, covering:
notation software MIDI sound creation downloading music posting personal MP3s for mass distribution.While there are many more technical books, few offer a comprehensive, understandable overview of the field. Computers in Music Education is an important text for the growing number of courses in this area.
Reseñas (1)
Revisar OPCIONES
The express goal of this book is to list and describe all of the ways in which computers are currently used in teaching or learning music. Essentially this implies a discussion of whole classes of software and software packages--a daunting task, to say the least, since computers and other IT tools have become ubiquitous in music classrooms and studios. Brown has done a creditable job, leaving hardly any stone unturned: his descriptions of software are mostly accurate, as far as they go; fine distinctions between similar packages are left for others to discover. One suspects that the book will age quickly, though it will certainly be useful for the immediate future. Its "music ed" perspective (with "teaching tips" and "suggested tasks" spread throughout, for example) may rile those in other areas of music study, but the book is valuable for the breadth of its content. Summing Up: Recommended. Lower-/upper-division undergraduates, graduate students, general readers. B. J. Murray Brevard College
Tabla de contenido
Figures | p. xvii |
Preface | p. xxi |
Section I Context | p. 1 |
1 Ways of making music with technology | p. 3 |
Changing technologies | p. 4 |
Changing minds | p. 4 |
The computer as a musical tool | p. 6 |
The computer as a musical medium | p. 8 |
The computer as a musical instrument | p. 10 |
Learning to use the computer for music making | p. 12 |
Conclusion | p. 13 |
Chapter summary | p. 14 |
Notes | p. 15 |
2 Philosophical considerations | p. 17 |
Amplification | p. 17 |
Invisibility | p. 18 |
Context | p. 20 |
Metaphor | p. 20 |
Musicianship | p. 22 |
Scaffolding | p. 22 |
Intention | p. 23 |
Engagement | p. 24 |
Meaning | p. 26 |
Conclusion | p. 27 |
Chapter summary | p. 29 |
Notes | p. 29 |
3 A brief history of music technology | p. 31 |
Pre-electronic technologies | p. 31 |
Automated music | p. 32 |
Electronic musical technologies | p. 34 |
Layers of persistence | p. 37 |
Conclusion | p. 38 |
Chapter summary | p. 39 |
Notes | p. 40 |
Section II Production | p. 41 |
4 Audio recording | p. 43 |
Sampling | p. 43 |
Audio file formats | p. 45 |
Manipulating samples | p. 46 |
Cutting and pasting | p. 46 |
Pitch shifting | p. 46 |
Filtering and equalization | p. 47 |
Amplitude envelopes | p. 47 |
Delays and reverb | p. 47 |
Hard disk recording | p. 48 |
Signal flow | p. 48 |
Recording mediums | p. 49 |
Tape | p. 50 |
Cassette | p. 50 |
Reel to reel | p. 50 |
DAT | p. 50 |
Disk | p. 51 |
Hard disk | p. 51 |
Mini disc | p. 51 |
Compact disc | p. 51 |
DVD | p. 51 |
Memory card | p. 52 |
Recording production techniques | p. 52 |
Clarity | p. 52 |
Tone | p. 52 |
Balance | p. 53 |
Spatialization | p. 53 |
Effects | p. 53 |
Educational applications of digital recording technologies | p. 54 |
Music production | p. 54 |
Recorded portfolios | p. 54 |
Reflection | p. 55 |
Assessment | p. 55 |
Conclusion | p. 56 |
Chapter summary | p. 58 |
Notes | p. 58 |
5 Music publishing | p. 59 |
Notation as a representation | p. 59 |
Learning with computer-based music notation | p. 60 |
What to look for in a music notation system | p. 63 |
Print quality | p. 63 |
Input methods | p. 63 |
Rhythmic transcription and rendering | p. 64 |
Staves and articulations | p. 64 |
Transformation and shifting | p. 65 |
Text and drawing | p. 65 |
Playback and audio rendering | p. 65 |
Priorities for music publishing hardware | p. 66 |
Conclusion | p. 67 |
Chapter summary | p. 69 |
Notes | p. 70 |
6 MIDI sequencing | p. 71 |
Sequencer history | p. 72 |
Modern sequencers | p. 72 |
Track view | p. 74 |
Phrase editor | p. 74 |
Note editors | p. 74 |
Waveform view | p. 75 |
Loops | p. 75 |
Making music with sequencers | p. 76 |
Arranging | p. 76 |
Composing | p. 77 |
Production | p. 77 |
Analysis | p. 78 |
Performance | p. 78 |
Conclusion | p. 79 |
Chapter summary | p. 81 |
Notes | p. 81 |
7 Algorithmic music | p. 83 |
Introducing algorithmic composition | p. 84 |
Uses of algorithmic composition | p. 85 |
Inside algorithmic processes | p. 87 |
Rule-based | p. 87 |
Probabilistic | p. 87 |
Connectionist | p. 88 |
Evolutionist | p. 89 |
Using commercial systems | p. 90 |
Exploring further | p. 90 |
Software for algorithmic composition | p. 90 |
Simple applications | p. 90 |
Environments | p. 91 |
Languages | p. 91 |
Sequencers with some algorithmic features | p. 91 |
Conclusion | p. 91 |
Chapter summary | p. 93 |
Notes | p. 93 |
8 Sound synthesis | p. 95 |
Oscillator synthesis | p. 97 |
Additive synthesis | p. 97 |
Subtractive synthesis | p. 98 |
Ring modulation | p. 99 |
Frequency modulation | p. 99 |
Waveshaping | p. 100 |
Digital synthesis directions | p. 101 |
Granular synthesis | p. 101 |
Physical modeling | p. 102 |
Experimenting with sound synthesis | p. 103 |
Plugins and hosts | p. 103 |
Synthesis toolkits | p. 104 |
Signal generators | p. 104 |
Useful links | p. 105 |
Dedicated plugin hosts | p. 105 |
Synthesis toolkits (graphical) | p. 105 |
Synthesis toolkits (textual) | p. 105 |
Sound editors with tone generators | p. 105 |
Conclusion | p. 106 |
Chapter summary | p. 107 |
Section III Presentation | p. 109 |
9 Synthesizer performance | p. 111 |
What is a synthesizer? | p. 112 |
Choosing a synthesizer for educational use | p. 113 |
Sound quality and quantity | p. 113 |
Ability to edit and create sounds | p. 113 |
Types of performance controllers | p. 114 |
Connections | p. 114 |
Educational applications of synthesizers | p. 114 |
Individual work | p. 114 |
Class ensembles | p. 114 |
Composition | p. 115 |
The synthesizer for solo performance | p. 115 |
Performance skills | p. 115 |
Synthesizer ensemble performance | p. 116 |
Synthesizer-only ensembles | p. 116 |
Mixed electroacoustic ensembles | p. 116 |
Interactive performance | p. 117 |
Instrumental teaching of synthesizer performance | p. 117 |
Conclusion | p. 118 |
Chapter summary | p. 119 |
Notes | p. 120 |
10 Live electronic music | p. 121 |
Introduction | p. 121 |
History | p. 122 |
Early instruments | p. 122 |
New directions | p. 123 |
Experimentalists | p. 124 |
Connecting with rock music | p. 124 |
Dance music | p. 125 |
Equipment | p. 126 |
Hardware synthesizers | p. 126 |
Samplers | p. 126 |
Drum machines | p. 127 |
Turntables and mixers | p. 127 |
Software | p. 127 |
Controllers | p. 128 |
Headphones | p. 129 |
Performance practices | p. 129 |
Learning to make live electronic music | p. 130 |
Conclusion | p. 130 |
Chapter summary | p. 132 |
Notes | p. 132 |
11 Interactive computer music | p. 133 |
The interactive experience | p. 134 |
Computer listening and response | p. 135 |
Human input | p. 136 |
Performance partnerships | p. 138 |
Remote control | p. 139 |
Useful links | p. 139 |
Dedicated applications | p. 140 |
Software environments | p. 140 |
Multimedia tools | p. 140 |
Auto-accompaniment software | p. 140 |
Conclusion | p. 141 |
Chapter summary | p. 142 |
Notes | p. 143 |
12 Digitizing and visualizing music | p. 145 |
Introduction | p. 145 |
Audio formats | p. 147 |
PCM audio | p. 147 |
MP3 files | p. 147 |
AAC | p. 148 |
Ogg vorbis | p. 148 |
FLAC | p. 148 |
Audio visualizations | p. 149 |
Oscilloscope | p. 149 |
Waveform display | p. 150 |
Spectrum analyzer | p. 150 |
Spectrogram | p. 151 |
MIDI representation | p. 152 |
MIDI visualization | p. 153 |
Textual representation | p. 153 |
Music fonts | p. 154 |
Graphical representations | p. 155 |
Graphic formats | p. 155 |
Video formats | p. 156 |
Presenting | p. 156 |
Word processor | p. 156 |
Digital slide show | p. 157 |
HTML | p. 157 |
p. 158 | |
Podcasts | p. 158 |
CDs | p. 158 |
DVDs | p. 158 |
Using digital presentations for teaching and learning | p. 159 |
Chapter summary | p. 160 |
Notes | p. 161 |
13 Music for visual narrative | p. 163 |
Sound and image | p. 163 |
Video | p. 166 |
Structure | p. 166 |
Synchronization | p. 167 |
Theater | p. 167 |
Sound design | p. 168 |
Audio spatialization | p. 168 |
Music | p. 168 |
Dance | p. 169 |
Collaboration | p. 169 |
Gesture | p. 170 |
Experimentation | p. 170 |
Exhibition | p. 171 |
Sonification of digital images | p. 171 |
Mood | p. 172 |
Temporality | p. 172 |
Presentation | p. 172 |
Conclusion | p. 173 |
Chapter summary | p. 175 |
Notes | p. 175 |
14 Rich media environments | p. 177 |
Digital media | p. 179 |
Forms of interactive media | p. 179 |
Virtual reality simulations | p. 179 |
Rich media documents | p. 180 |
Sources of audio content | p. 182 |
The musical challenge of interactivity | p. 183 |
Skills of the sound designer | p. 184 |
Rich media curriculum documents | p. 184 |
Useful links | p. 185 |
Document creation tools | p. 185 |
Interactive Systems | p. 185 |
Media creation tools | p. 185 |
Examples | p. 186 |
Conclusion | p. 186 |
Chapter summary | p. 188 |
Notes | p. 188 |
15 Music distribution in the age of the Internet | p. 189 |
Playing music on the Internet | p. 190 |
Stakeholders and issues | p. 190 |
Ownership | p. 191 |
Access | p. 192 |
Distributing music over the Internet | p. 193 |
Physical distribution | p. 193 |
File distribution | p. 194 |
Internet radio | p. 196 |
Music commentary on the Internet | p. 197 |
Promoting music on the Internet | p. 198 |
Useful Links | p. 200 |
Music sales and promotion | p. 200 |
Music promotion | p. 200 |
Music information | p. 200 |
Rights and commerce | p. 200 |
RSS tools | p. 200 |
Conclusion | p. 201 |
Chapter summary | p. 202 |
Note | p. 203 |
Section IV Reflection | p. 205 |
16 Computers and music research | p. 207 |
The place of research in the music curriculum | p. 207 |
Opportunities on the Internet | p. 208 |
Searching | p. 208 |
Convergence of media | p. 209 |
Forms: online data collection | p. 209 |
Cooperative projects | p. 210 |
Access | p. 211 |
Internet surfing tips | p. 211 |
Discerning "good" information | p. 211 |
Censorship | p. 212 |
Copyright | p. 213 |
Referencing | p. 214 |
Sound on the Internet | p. 214 |
Reporting research as multimedia documents | p. 215 |
Narrative versus hypertext | p. 215 |
Music production skills | p. 216 |
Empowerment over knowledge | p. 216 |
Conclusion | p. 217 |
Chapter summary | p. 218 |
Notes | p. 219 |
17 Music and sound analysis | p. 221 |
Strategies for music analysis | p. 221 |
Data reduction | p. 222 |
Pattern matching | p. 222 |
Statistical analysis | p. 222 |
Metaphoric description | p. 223 |
Computer assisted analysis | p. 224 |
Score analysis | p. 225 |
Audio analysis | p. 228 |
Conclusion | p. 229 |
Chapter summary | p. 231 |
Notes | p. 231 |
18 Aural and musicianship training | p. 233 |
Software features | p. 235 |
Interactivity | p. 236 |
Access | p. 237 |
Music representations | p. 238 |
Genre and styles | p. 238 |
Teaching considerations | p. 239 |
Useful links | p. 241 |
Aural training | p. 242 |
Musicianship | p. 242 |
Conclusion | p. 243 |
Chapter summary | p. 244 |
Notes | p. 245 |
19 Assessment | p. 247 |
What to assess | p. 247 |
Computers in assessment | p. 249 |
Production and response | p. 249 |
Communications | p. 251 |
Information management | p. 252 |
Ownership and access | p. 253 |
Automated assessment | p. 254 |
Reporting | p. 254 |
Useful links | p. 255 |
Tools for assessing | p. 255 |
Tools for reporting | p. 256 |
Conclusion | p. 256 |
Chapter summary | p. 257 |
Notes | p. 258 |
20 Administration | p. 259 |
Document preparation | p. 259 |
Word processing | p. 260 |
Graphic design programs | p. 261 |
Desktop publishing | p. 261 |
Presentation programs | p. 262 |
Audiovisual documents | p. 262 |
Information management | p. 262 |
Spreadsheet | p. 263 |
Database | p. 264 |
Web sites | p. 265 |
Learning management systems | p. 266 |
Planning and scheduling | p. 266 |
Data management | p. 267 |
Useful links | p. 267 |
Documentation and presentation | p. 268 |
Information management | p. 268 |
Scheduling | p. 269 |
Conclusion | p. 269 |
Chapter summary | p. 271 |
Section V Implementation | p. 273 |
21 Setting up a computer music system | p. 275 |
Task identification | p. 275 |
Choosing equipment | p. 276 |
Digital musical appliances | p. 278 |
Selecting between alternatives | p. 279 |
Ancillary equipment | p. 280 |
Physical set up | p. 280 |
Location and access | p. 282 |
Ergonomics | p. 283 |
Security | p. 283 |
Maintenance | p. 284 |
Conclusion | p. 284 |
Chapter summary | p. 285 |
Notes | p. 286 |
22 Distance education and e-learning | p. 287 |
E-learning technologies | p. 288 |
Learning at a distance | p. 289 |
E-earning design | p. 290 |
Conclusion | p. 291 |
Chapter summary | p. 293 |
Notes | p. 293 |
23 Integrating new technologies | p. 295 |
Understanding and knowledge | p. 296 |
Skills and techniques | p. 296 |
Integration prompting change | p. 297 |
Change as evolution | p. 298 |
Change as addition | p. 298 |
Updating curriculum and pedagogy | p. 299 |
A meaningful engagement with music | p. 299 |
Teacher as helper | p. 302 |
Organizing space and time | p. 302 |
Hardware options | p. 302 |
Connectivity | p. 303 |
Ownership | p. 304 |
Storage and housing | p. 305 |
Funding | p. 305 |
Training and professional development | p. 306 |
Conclusion | p. 306 |
Chapter summary | p. 308 |
Notes | p. 308 |
24 Possible futures for computers in music education | p. 311 |
Equipment | p. 312 |
Connectivity | p. 313 |
Data mining | p. 314 |
Information sharing | p. 314 |
Stylistic diversity and syncretism | p. 315 |
Legal frameworks | p. 315 |
Live computational processes | p. 316 |
Sonic expression | p. 316 |
Notes | p. 317 |
Glossary | p. 319 |
References | p. 323 |
Webography | p. 323 |
Books and Articles | p. 328 |
Index | p. 331 |