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图书馆 | 资料类型 | 排架号 | 子计数 | 书架位置 | 状态 | 图书预约 |
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正在检索... Science | Reference Book | R 786.7 D 656D, 1992 | 1 | Reference Material | 正在检索... 未知 | 正在检索... 不可借阅 |
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摘要
摘要
The rapid pace of technological development in electronic music has led to a plethora of instruments and systems. Until now, there has been no book to survey this burgeoning field objectively and insightfully or explain the transformations in instruments and the technology behind them. Assuming no prior knowledge on the part of the reader, Dobson introduces and explains this mass of technical information in clear, comprehensive entries dealing with common principles and techniques, such as those on the computer, electronic components, and synthesis. Specific products are then referred to as examples of a particular approach. This allows not only the links between instruments such as the sampler, synthesizer, sequencer, and signal processor to be examined, but also ensures that the text will not quickly become out-of-date. The DECMT thus works both as a reference work and as a tutorial text, moving from basic principles to specific examples. Included are entries on major commercial instruments and historical information on companies and individuals whose work has been central to the development of electronic instruments. Supplemented by three appendices, a general index, and one of instruments and manufacturers, A Dictionary of Electronic and Computer Music Technology will be indispensable for all composers, teachers, and performers in classical and popular music.
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Less than ten years ago, the music industry underwent a tremendous and fundamental change. The development of new computer-based musical instruments and associated equipment such as samplers, digital synthesizers, and signal processors, as well as the acceptance of communication/synchronization networks such as MIDI and SMPTE, has forced the music industry to embrace the technical language of computer programmers and hardware designers. There is a need for a well-written and easily used dictionary of these terms. Dobson's dictionary does not fill the bill because it is not so much a dictionary of electronic and computer music technology as a dictionary of electronic instruments and allied technical features and processes, as the author states in the foreword. The text serves this intention well, although there are some curious omissions in the index e.g., "MIDI," "channel modes," "systems exclusive" terms that can be found in the text if the reader knows where to look. Libraries should consider other electronic music dictionaries such as Wayne Wadhams's Dictionary of Music Production and Engineering Terminology (CH, Apr'89). D. Hibbard; McLennan Community College