Guide to Unconventional Computing for Music
This pioneering text/reference explores how innovative new modes of computation may provide exciting new directions for future developments in the music industry, guiding the reader through the latest research in this emerging, interdisciplinary field. Th
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Guide to Unconventional Computing for Music
Guide to Unconventional Computing for Music
Eduardo Reck Miranda Editor
Guide to Unconventional Computing for Music
123
Editor Eduardo Reck Miranda University of Plymouth Plymouth UK
ISBN 978-3-319-49880-5 DOI 10.1007/978-3-319-49881-2
ISBN 978-3-319-49881-2
(eBook)
Library of Congress Control Number: 2016958473 © Springer International Publishing AG 2017 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. Printed on acid-free paper This Springer imprint is published by Springer Nature The registered company is Springer International Publishing AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Preface
Back in the late 1940s, scientists in Australia installed a loudspeaker on the CSIR Mk1 computer, which was one of only a handful of electronic computers in the world at the time. Programmers would use the loudspeaker to play a sound at the end of their program to notify the operator that the machine had halted. The field of Computer Music was born in 1951, when Geoff Hill, a mathematician with a musical upbringing, had the brilliant idea of programming the Mk1 computer to play back an Australian folk tune for an exhibition at the inaugural Conference of Automatic Computing Machines in Sydney. This is allegedly the first time a computer produced music live for an audience. Computers have played a pivotal part in the development of the music industry ever since, and this trend will most certainly continue. From the vantage point of a classical contemporary music composer, it would be fair to assert that those classical composers who were interested in exploring the potential of computing technology for their métier have been playing a leading role in the development of new music technology and the music industry since the 1950s. And as we shall see in this book, we still are: a number of authors here are either professional or amateur musicians. Classical contemporary music may not always appeal to lar
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