Scott Wilson, David Cottle, Nick Collins (eds.): The SuperCollider Book (2011)

“SuperCollider is one of the most important domain-specific audio programming languages, with potential applications that include real-time interaction, installations, electroacoustic pieces, generative music, and audiovisuals. The SuperCollider Book is the essential reference to this powerful and flexible language, offering students and professionals a collection of tutorials, essays, and projects. With contributions from top academics, artists, and technologists that cover topics at levels from the introductory to the specialized, it will be a valuable sourcebook both for beginners and for advanced users.

SuperCollider, first developed by James McCartney, is an accessible blend of Smalltalk, C, and further ideas from a number of programming languages. Free, open-source, cross-platform, and with a diverse and supportive developer community, it is often the first programming language sound artists and computer musicians learn. The SuperCollider Book is the long-awaited guide to the design, syntax, and use of the SuperCollider language. The first chapters offer an introduction to the basics, including a friendly tutorial for absolute beginners, providing the reader with skills that can serve as a foundation for further learning. Later chapters cover more advanced topics and particular topics in computer music, including programming, sonification, spatialization, microsound, GUIs, machine listening, alternative tunings, and non-real-time synthesis; practical applications and philosophical insigh”s from the composer’s and artist’s perspectives; and “under the hood,” developer’s-eye views of SuperCollider’s inner workings. A Web site accompanying the book offers code, links to the application itself and its source code, and a variety of third-party extras, extensions, libraries, and examples.”

Foreword by James McCartney
Publisher MIT Press, 2011
ISBN 0262232693, 9780262232692
756 pages

Review: Dave Phillips (Linux Journal).

Publisher

PDF (removed on 2014-2-4 upon request of the publisher)
Code (ZIP)
Book resources (code, video examples)
Book errata

Organised Sound: An International Journal of Music and Technology, 14(1): Sound Art (2009)

“Thanks to a variety of contributors, this issue of Organised Sound usefully articulates several definitions of sound art, principally the German Klangkunst vs the US art gallery assumption, the former focusing on the sculptural dimension and site specific, architecture related installations, while the latter deals with more aesthetic and psychological aspects.” (from a Continuo review)

With contributions by Alan Licht, Andreas Engström and Åsa Stjerna, Christoph Cox, Lílian Campesato, Joanna Demers, Dani Iosafat, Claudia Tittel, Julio d’Escriván, Gascia Ouzounian, Owen Chapman, Virginia Madsen, Georg Klein, and a reviews section.

Guest editor Jøran Rudi
Editor Leigh Landy
Publisher Cambridge University Press, April 2009
ISSN 1355-7718
115 pages

Publisher

PDF, PDF

Tara Rodgers: Pink Noises: Women on Electronic Music and Sound (2010)

Pink Noises brings together twenty-four interviews with women in electronic music and sound cultures, including club and radio DJs, remixers, composers, improvisers, instrument builders, and installation and performance artists. The collection is an extension of Pinknoises.com, the critically-acclaimed website founded by musician and scholar Tara Rodgers in 2000 to promote women in electronic music and make information about music production more accessible to women and girls. That site featured interviews that Rodgers conducted with women artists, exploring their personal histories, their creative methods, and the roles of gender in their work. This book offers new and lengthier interviews, a critical introduction, and resources for further research and technological engagement.

Contemporary electronic music practices are illuminated through the stories of women artists of different generations and cultural backgrounds. They include the creators of ambient soundscapes, “performance novels,” sound sculptures, and custom software, as well as the developer of the Deep Listening philosophy and the founders of the Liquid Sound Lounge radio show and the monthly Basement Bhangra parties in New York. These and many other artists open up about topics such as their conflicted relationships to formal music training and mainstream media representations of women in electronic music. They discuss using sound to work creatively with structures of time and space, and voice and language; challenge distinctions of nature and culture; question norms of technological practice; and balance their needs for productive solitude with collaboration and community. Whether designing and building modular synthesizers with analog circuits or performing with a wearable apparatus that translates muscle movements into electronic sound, these artists expand notions of who and what counts in matters of invention, production, and noisemaking. Pink Noises is a powerful testimony to the presence and vitality of women in electronic music cultures, and to the relevance of sound to feminist concerns.

Interviewees: Maria Chavez, Beth Coleman (M. Singe), Antye Greie (AGF), Jeannie Hopper, Bevin Kelley (Blevin Blectum), Christina Kubisch, Le Tigre, Annea Lockwood, Giulia Loli (DJ Mutamassik), Rekha Malhotra (DJ Rekha), Riz Maslen (Neotropic), Kaffe Matthews, Susan Morabito, Ikue Mori, Pauline Oliveros, Pamela Z, Chantal Passamonte (Mira Calix), Maggi Payne, Eliane Radigue, Jessica Rylan, Carla Scaletti, Laetitia Sonami, Bev Stanton (Arthur Loves Plastic), Keiko Uenishi (o.blaat)

Publisher Duke University Press, 2010
ISBN 0822346737, 9780822346739
322 pages

Review (Tiffany Naiman, Ethnomusicology Review)
Review (Mary Simoni, Computer Music Journal)
Review (Betsey Biggs, Women and Music: A Journal of Gender and Culture)

Publisher
Google books

Download (removed on 2013-12-13 upon request of the publisher)
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