R. Murray Schafer: Ear Cleaning: Notes for an Experimental Music Course (1967–) [EN, ES, PT]

The book includes R. Murray Schafer’s notes and exercises which formed part of an experimental music course offered to first-year students at Simon Fraser University.

With an Introduction by Keith Bissell
Publisher Clark & Cruickshank, a division of Berandol Music Limited, Toronto, Canada, 1967
46 pages
via Charles Turner

Ear Cleaning (English, no OCR)
Limpieza de oidos (Spanish, trans. Ricardo Arturo de Gainza, 1982, added on 2014-12-19)
Limpeza de ouvidos (Brazilian Portuguese, 1991, added on 2014-12-19)

Barry Truax: Acoustic Communication (1984)

This book draws upon many traditional disciplines that deal with specific aspects of sound, and presents material within an interdisciplinary framework. It establishes a model for understanding all acoustic and aural experiences both in their traditional forms and as they have been radically altered in the 20th century, Digital technology has completely redefined the listening and consumption patterns of sound.

Publisher Ablex Publishing, Norwood/NJ
ISBN 0893912638, 9780893912635
244 pages

google books

PDF

Peter Hoffmann: Music Out of Nothing? A Rigorous Approach to Algorithmic Composition by Iannis Xenakis (2009)

“GENDY3 (1991) by Iannis Xenakis (1922-2001) is a piece of computer generated music. But it is more than just ‘computer music’. GENDY3 is the culmination of Xenakis’ lifelong quest for an ‘Automated Art’: a music entirely generated by a computer algorithm.

Being a radical instance of a pure algorithmic composition, GENDY3 is, in a precise mathematical sense, a computable music: every aspect of its sonic shape is defined by an algorithmic procedure called ‘Dynamic Stochastic Synthesis’ (‘Génération Dynamique Stochastique’, or GENDYN for short).

The GENDYN Project, started by the author in 1995/96 with a research at CEMAMu, then the composer’s research center near Paris, exploits this computability for developing and documenting the GENDYN concept, in order to understand its various ramifications and to make it accessible for further research and production. To this end, the author implemented Dynamic Stochastic Synthesis in a new program called the ‘New GENDYN Program’ which, in addition to ‘recomposing’ GENDY3 in real time, makes it possible to inspect and control the algorithmic composition process, thereby opening up new perspectives both in Computational Musicology and in computer music creation.

For music analysis purposes, GENDY3 has been completely resynthesized. The simulation of the genesis of GENDY3 ‘in vitro’ made possible by the New GENDYN Program permits the systematic exploration of the ‘decision space’ of the composition model, contributing to a deeper understanding of both its potentials and limitations, and the complex interaction between ‘material requirements’ and compositional freedom within which the composer navigated.

The study of the GENDYN compositions provokes many fundamental questions about computing, listening and understanding, of creation, interaction and computer music aesthetics. It is shown that Xenakis, unlike many computer music composers, had no ambition whatsoever to emulate traditional musical thinking with the computer. Instead he realized his sonic vision in an abstract physical model of sound pressure dynamics yielding higher-order musical structures as emergent epiphenomena. This unusual approach addresses the medium of electroacoustic algorithmic music, i.e. the physics of sound, as well as the computability of sound as subjects of artistic creation. This approach seems to the author to be of a higher value for the foundation of a ‘true’ computer art than the widespread ambition to emulate human creativity by computers and to build up an artificial brave new world of music.” (Abstract)

PhD thesis
Fakultät I – Geisteswissenschaften, Technische Universität Berlin
Vorsitzender: Stefan Weinzierl
Berichter: Christian Martin Schmidt
Berichter: Helga de la Motte-Haber
346 pages

PDF (updated on 2017-8-4)