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PREFACE
This bibliography was prepared by KIP, JMS, AND PW as part of the final
assignment for Music 200, Music Bibliography, taught by Edward Colby at
Stanford University, Autumn Quarter 1976-77, and addresses itself to
various aspects of digital sound synthesis.
The sections have been arranged in the following order: general reference
materials; studios in the United States; studios in various part of the
world, occasionally including a further section of entries relating to
that studio's specialty (e.g. GROOVE after Bell, FM after Stanford);
programming techniques; psychoacoustic topics [contributed mostly by
PW and KIP]; and misc.
As for articles and books on computer-generated compositional algorithms,
entries have been included in general only for writings which treat
compositional programs involving closely related sound synthesis. Computer
applications in musicology, music bibliography, music education, etc.
have been omitted here.
Some annotations have been copied (with due credit) from the reference
materials used, or provided by the present compilers. However, the
emphasis has been not upon annotation, but rather on a wide selection of
materials.
MAJOR SOURCES EXCEPT FOR BIBLIOGRAPHIES
AS
Ashton, Alan Conway. Electronics, Music, and Computers. Ph.D.
Dissertation. University of Utah, Salt Lake City, August, 1970.
Published as Report No. UTEC-CSC-71-117, Computer Science Department,
Univ. of Utah, Salt Lake City 84112. (AS) Bibliography with many listings
of articles on inventions, ideas for instruments, etc.
Denes, P. B., and Max V. Mathews. "Computer models for speech and music
appreciation," in Proceedings of the Fall Joint Computer Conference, 1968.
(Pages 319-327). Overview of speech synthesis, with discussion of
similarity of problems involved in composition algorithm programs.
Bibliography (not collated here)
FB
Foerster, Heinz von, and James W. Beauchamp, Ed. Music by Computers. New
York: John Wiley, 1969.
Reviewed in
Howe, Hubert S., Jr. "The Chaotic State of Computer Music," Computers
and the Humanities, 4 (1969-70), 277-83. (K, No. 269).
Also appeared in
Perspectives of New Music, 8:2 (Spring-Summer 1970), 151-7.
Reviewed in
Horvath, Helmuth. "Musik von Computern," Oesterreichische
Musikzeitschrift, 27 (1972), 573-75. (K, No. 267)
H
Howe, Hubert S. Electronic Music Synthesis: Concepts, Facilities,
Techniques. New York: W. W. Norton, 1975.
MT41 H855
Covers the physical and psychological attributes of sound. classical
studio technique. synthesizers. and computers, including a long
treatment of MUSIC IVBF. (H)
JAM
Moorer, James A. Signal Processing Aspects of Computer Music --
A Survey. Stanford, California: in progress.
KN
Knowlton, Prentiss H. Interactive Communication and Display of Keyboard Music.
Ph.D. Dissertation. University of Utah, Salt Lake City, August, 1971.
Available from University Microfilms #71-30,080. (JAM office)
L
Lincoln, Harry B. The Computer and Music. Ithaca: Cornell
Univ. Press, 1970.
ML55 C738
Reviewed in
Mathews, Max V. "The Computer and Music," Computer Studies in the
Humanities and Verbal Behavior, 3 (1970-2), 224-25. (K, No. 387; for
further reviews, cf. K, No. 357).
MM
Mathews, Max V. The Technology of Computer Music. Cambridge: The M.I.T.
Press, 1969.
Reviewed in Zimmerman, Franklin B. "Computer Music," Computers and
the Humanities, 6 (1971-2), 193-194. (K, No. 638)
ST1
Chowning, John M., John M. Grey, Loren Rush, James A. Moorer. Computer
Simulation of Music Instrument Tones in Reverberant Environments. Stanford:
Stanford University Department of Music Report No. STAN-M-1, June 1974.
ST3
Moorer, James A. On the Segmentation and Analysis of Continuous Musical
Sound by Digital Computer. Stanford: Stanford University Department of
Music Report No. STAN-M-3, 1975.
IL
University of Illinois Experimental Music Studio Technical Reports.
(e.g. "IL15," "IL5").
G. Bowles recommends:
English Library, [Ref.], Index to Government Grants
Physics Library: Science Citation Index
Generating indices: Kwic.Index[up,doc]
BIBLIOGRAPHIES, DISCOGRAPHIES
Bahler, Peter B. Electronic and Computer Music: An Annotated Bibliography
of Writings in English. Master's Thesis, University of Rochester, 1966. 128 pp.
(K, No. 15)
Basart, Ann Phillips. Serial music: a classified bibliography of
writings on twelve-tone and electronic music. Berkeley: University
of California Press, 1961. (C, no. 77)
Berlind, Gary. Writings on the use of computers in music.
New York: New York University Institute for Computer Research in the
Humanities, 1965 (mimeograph) (C, No. 109)
Brook, B., and G. Berlind. "Writings of the Uses of Computers in
Music," College Music, 1 (1967), 143.
C
Cross, Lowell M. A Bibliography of Electronic Music. Toronto:
University of Toronto Press, 1967.
ML128 E3C95
1562 entries covering technical as well as popular/general works on
musique concrete, elektronische Musik, tape music, and computer music;
arranged alphabetically, not annotated, from texts in 14 languages.
Davies, Hugh. "A discography of electronic music and musique concrete."
Recorded Sound, 14 (April 1964), 205. (C, No. 277)
Davies, Hugh. "A discography of electronic music and musique concrete--
supplement." Recorded Sound, 22-23 (April-July 1966), 69.
(C, No. 279)
Davies, Hugh. Repertoire International des Musiques Electroacoustiques.
Cambridge: MIT Press, 1968.
ML 128E4D25
Issued as Vol. 2/3 of Electronic Music Review, 1967.
ML E38
Hiller, Lejaren A., Jr., and J. W. Beauchamp. Review of Completed and
Proposed Research on Analysis and Synthesis of Musical Sounds by Analog
and Digital Techniques. University of Illinois Experimental Music Studio
Technical Report No. 19, Urbana, 1967. NSF proposal for support to adapt
MUSIC IV to Illinois system; to adapt programs on discontinued ILIAC to
newly acquired IBM 360; and to set up hybrid system. Includes review of
research, theses, etc. at Illinois, and bibliographies. (not collated here).
K
Kostka, Stefan M. A Bibliography of Computer Applications in Music. Hackensack,
N. J.: Joseph Boonin, Inc., 1974.
ML113 K86B5
641 listings of "all writings of continuing significance" on "computer
applications in music" (Preface) up to mid-1973. Not rigorously collated here,
especially for compositional algorithms.
Tjepkema, Sandra L. An Annotated Bibliography of Computer Applications
in Composition, Sound-Synthesis, and Programmed Control in the
Analog Studio. [University of Toronto?], June, 1974.
Mimeographed. From the preface: "This bibliography includes only the
more significant writings on computer-aided composition, computer-generated
sound, and programmed control in the analog studio, as of 1974."
Approximately 150 entries. [Available from Bruce Pennycook] (not collated here).
MUSIC IV, MUSIC V
Guttman, N. "Notes on Computer Music Examples," Gravesaner Blaetter,
23-24 (1962), 126-31. (K, No. 210).
Howe, Hubert S., Jr. Electronic Music Synthesis: Concepts, Facilities,
Techniques. New York: W. W. Norton, 1975.
MT 41 H855
Covers the physical and psychological attributes of sound; classical
studio technique; synthesizers; and computers, including a long treatment of
MUSIC IVBF.
Howe, Hubert S., Jr. MUSIC 4BF: A FORTRAN Version of MUSIC 4B.
Princeton: Princeton University Music Department, 1967. [K., No. 274)
Howe, Hubert S., Jr. MUSIC7 Reference Manual. New York: Queens College
Press, 1972. 109 pp. (K, No. 275).
Mathews, Max V. "An Acoustic Compiler for Music and Psychological
Stimuli," Bell System Technical Journal, 40 (May, 1961), 677-694.
MM: A technical description of an early version of a sound generating
program. This is the first complete published description."
Mathews, Max V. "The Computer as a Musical Instrument." Computer
Decisions 4:2 (Feb., 1971), 22-25 (K, No. 388).
Mathews, Max V. "Computer Program to Generate Acoustic Signals," Journal
of the Acoustic Society of America, 32 (1960), 1493. (Abstract.) (K, No.
390).
Mathews, Max V. "Immediate sound generation," Journal of the Acoustical
Society of America, 39 (1966), 1245. (Abstract.) (K, No. 393.)
Mathews, Max V. "The Computer Music Record Supplement," Gravesaner
Blaetter, 7:26 (1965), 116-7. (K, No. 389). MM: "These are the original
papers that trace the development of the current sound-synthesizing
program."
Mathews, Max V. "The Digital Computer as a Musical Instrument," Science,
142 (November, 1963), 553-557. MM: "A semitechnical description of Music IV
with some discussion of applications. This is a good introductory
article."
Mathews, Max V. The Technology of Computer Music. Cambridge: The M.I.T.
Press, 1969.
Reviewed in Zimmerman, Franklin B. "Computer Music," Computers and the
Humanities 6 (1971-2), 193-194. (K, No. 638).
Mathews, Max V., and Joan A. Miller. Music IV Programmer's Manual. Murray
Hill, New Jersey: Bell Telephone Laboratories, 1965. (Unpublished). (FB)
Mathews, Max V., Joan E. Miller, and John R. Pierce. "Computer Study of
Trumpet Tones," Journal of the Acoustic Society of America, 38 (1965),
912-13. (Abstract). (K, No. 400).
Mathews, Max V., John R. Pierce, and N. Guttmann. "Musical Sounds from
Digital Computers," Gravesaner Blaetter, 23/24 (1962), 109-25. (K, No. 403).
Parallel English and German texts. English version also appeared
in IEEE Student Journal, 1:4 (Sept. 1963), 25-31.
Mathews, Max. V., and N. Guttman. "Generation of Music by a Digital
Computer," in Proceedings of the Third International Congress on Acoustics,
Stuttgart, 1959. Edited by L. Cremer. Amsterdam: Elsevier, 1961. (Pages 253-254).
Moore, F. R. "Musica ed elaboratori elettronici," Encyclopedia della scienze e
della tecnica (1971), 490-498. (K, No. 420).
Pierce, John R., Max V. Mathews, and J.-C. Risset. "Further Experiments
on the Use of the Computer in Connection with Music," Gravesaner
Blaetter, 27/28 (November, 1965), 85-97. MM: "A semitechnical description
emphasizing applications of Music IV. This is a good follow-up for the
paper in Science."
Risset, Jean-Claude, and Max V. Mathews. "Analysis of Musical Instrument
Tones," Physics Today, 22:2 (1969), 23. (ref. in Risset, UNESCO) (JAM)
Risset, Jean-Claude. "Pitch Control and Pitch Paradoxes Demonstrated with
Computer-Synthesized Sounds," Journal of the Acoustical Society of
America, 49 (1969), 88. ("Abstract: detailed article to appear later"
-ref. in Risset, Music and Technology). On e.g. infinite glissandi.
Risset, Jean-Claude. "Synthesis of Sounds by Computer and Problems
Concerning Timbre," in Music and Technology. [UNESCO Conference on Music
and Technology, Stockholm, 1970]. Paris: Revue Musicale, 1971. (Pages
118-128). Non-technical, general discussion and overview of relationship
between MUSIC V, timbre research, and state-of-the-art digital synthesis.
Roberts, Arthur. "Some notes on computer-generated music," Journal of the
Audio Engineering Society, 14:1 (1966), 17. (C, No. 1122)
Roberts, Arthur. "An All FORTRAN Music Generating Computer Program,"
Journal of the Audio Engineering Society, 14 (1966), 17. (H; FB, p. 66 --
apparently discusses MUSIC4F and ORPHEUS, a spin-off of MUSIC 4F).
Tenney, James C. "Sound Generation by Means of a Digital Computer,"
Journal of Music Theory, 7 (1963), 25-70. MM: "A discussion of Music IV as
seen by a composer using the program. The article contains many details
and is a good introduction for a musician."
Tenney, James C. "Computer Music Experiments, 1961-64," Electronic Music
Reports, 1 (1969), 23-60. Discusses instrument definitions used in his
compositional and psychoacoustical studies at Bell Labs.
Warfield, Gerald. Beginner's Manual of MUSIC4B.
Princeton: Princeton University Music Department, [n.d.]. (K, No. 608).
(mimeographed)
Winham, Godfrey. "How MUSIC4B Generates Formants and Non-Harmonic
Partials, and Improves Loudness Control and `Quality'," Proceedings of the
American Society of University Composers, 1 (1968), 42-46. (K, No. 620)
Winham, Godfrey. The Reference Manual of MUSIC 4B. Mimeographed.
Princeton: Princeton University Music Department, [1966?]. 74 p. (K, No. 621)
GROOVE
Mathews, Max V. "The Electronic Sound Studio of the 1970's," in Music and
Technology [UNESCO Conference on Music and Technology, Stockholm, 1970].
Paris: Revue Musicale, 1971. (Pages 129-141). A discussion of GROOVE with
examples. French translation : "Le studio de sons electroniques des
annees 70," La Revue Musicale, 268-269 (1971), 125-37. (K, No. 394).
Mathews, Max V., and F. Richard Moore. "GROOVE - A Program to Compose,
Store, and Edit Functions of Time." Murray Hill, N. J.: Bell Telephone
Laboratory, 1969. (AS). Also in Communications of the Association for Computing
Machinery, 13 (1970), 715-21. (K, No. 402).
Mathews, Max V., and F. Richard Moore. "GROOVE, a Program for Real Time
Control of a Sound Synthesizer by a Computer," Proceedings of the
American Society of University Composers, 4 (1971), 27-31. (K, No. 401).
Stanford
Chowning, John M. "Stanford Computer Music Project," NUMUS-West, 1
(1972), 12-14. (K, No. 109).
Chowning, John M. "The Synthesis of Complex Audio Spectra by Means of
Frequency Modulation," Journal of the Audio Engineering Society, 21
(1973), 526-534.
Chowning, John M., John M. Grey, Loren Rush, and James A. Moorer.
Computer Simulation of Music Instrument Tones in Reverberant Environments.
Stanford University Department of Music Report No. STAN-M-1, June 1974.
Chowning, John M. "The Simulation of Moving Sound Sources," Journal of the
llllljEngineering Society, 2 (1971), 6.
Reprinted in part in Sound Sculpture: A collection of essays by artists
surveying the techniques, applications, and future directions of sound
sculpture. Edited by John Grayson. Vancouver: Aesthetic Research Centre
of Canada, 1975. (Pages 142-147).
Gordon, John. A Different Drummer. M.A. Project. Stanford University,
1974. For Percussion and 4-track tape. Includes computer programs used
to generate tape. M146 G663 D7 Muscref.
Grey, John M. An Exploration of Musical Timbre. Ph.D. Thesis. Stanford
University, 1974. Stanford University Department of Music Report No. STAN-M-2.
Moorer, James A. On the Loudness of Complex, Time-Variant Tones.
Stanford University Department of Music Report No. STAN-M-4.
Moorer, James A. On the Segmentation and Analysis of Continuous Musical
Sound by Digital Computer. Ph.D. Thesis. Stanford University, 1975. Stanford
University Department of Music Report No. STAN-M-3, 1975. (ST3).
Moorer, James A. The Synthesis of Complex Audio Spectra by Means of
Discrete Summation Formulae. Stanford University Department of Music
Report No. STAN-M-5.
Smith, Leland C. "Editing and Printing Music by Computer." Journal of
Music Theory (Fall, 1973), 292-308.
Smith, Leland C. "SCORE -- A Musician's Approach to Computer Music,"
Journal of the Audio Engineering Society 20, (1972), 7-14. (K, No. 556).
Frequency Modulation
Bedaux, Rafael. "Micro Frequency Modulation in Sound Synthesis," Interface,
3 (1974), 89-108.
Corrington, Murlan S. "Variation of Bandwidth with Modulation Index in
Frequency Modulation," Proc. IRE, 35:10 (Oct., 1947), 1013-1020. (JAM)
Crosby, M. G. "Carrier and Side-Frequency Relations with Multi-Tone
Frequency of Phase Modulation," RCA Review, 3 (1938), 103-106. (JAM)
Holway, L. H., Jr., and J. A. Mullen. "Exact and Approximate Spectra for
Trapezoidal FM." Proceedings of the IEEE, 64:3 (March 1976), 380-381. (JAM)
Klapper, Jacob, editor. Selected Papers on Frequency Modulation.
New York: Dover, 1970. Eighteen articles dating from 1936-1964.
Saunders, Steven E. "Real-Time FM Digital Music Synthesis," in
Proceedings of Music Computation Conference II, Urbana, Ill., Nov. 1974.
(JAM)
Colgate
Morril, Dexter. "An FM Trumpet," accepted for publication in the
Journal of the Audio Engineering Society. (JAM).
Michigan
Wessel, D. L. "Psychoacoustics and music: a report from Michigan State
University," Bulletin of the Computer Arts Society (1973 -- in press)
(ST1)
Oberlin
Clough, John. "A Report from Oberlin," Computer Music Newsletter, 1:1
(Feb. 1971), 2-5. (K, No. 117.)
Clough, John. "Computer Music and Group Theory," Proceedings of the
American Society of University Composers, 4 (1971), 10-19. (K, No. 114).
Clough, John. "An Interactive System for Computer Sound Generation,"
Proceedings of the American Society of University Composers, 6 (1973),
22-26. (K, No. 115)
Clough, John. "IRMA: An Interactive, Real--Time, Digital System for
Electronic Music," IEEE International Convention Digest, (March, 1971),
40-41. (K, No. 116)
Clough, John. "TEMPO: A Composer`s Programming Language."
Perspectives of New Music 8:3[?], 113-125.
Utah
Ashton, Alan Conway. Electronics, Music, and Computers. Ph.D.
Dissertation. University of Utah, Salt Lake City, August, 1970. Published
as Report No. UTEC-CSC-71-117, Computer Science Department, Univ. of
Utah, Salt Lake City 84112.
Ashton, David. "Teaching Music Fundamentals Using a Computer Controlled
Organ and Display Scope." Masters Thesis. Univ. of Utah, Salt Lake City,
August, 1971.
Knowlton, Prentiss H. "Capture and Display of Keyboard Music,"
Datamation, 18:5 (1972), 56-60.
Knowlton, Prentiss H. Interactive communication and display of Keyboard
Music. Ph.D. Dissertation. University of Utah, Salt Lake City. August,
1971. Available from University Microfilms #71-30,080.
Whitelock, K. W. "The Musigraph -- A Graphic Music Reccorder." Masters
Thesis. University of Utah, Salt Lake City, 1949. (KN)
Illinois
Baker, Robert A. MUSICOMP: MUsic Simulator-Interpreter for COMpositional
Procedures. Urbana: University of Illinois Experimental Music Studio
Technical Report No. 5. Urbana, 1963. Includes some information on the
associated sound generation program run on the CSX-I computer.
Beauchamp, James W. "A Computer System for Time-Variant Harmonic Analysis
and Synthesis of Musical Tones," in Music by Computers, edited by James w.
Beauchamp and Heinz von Foerster. New York: Wiley, 1969.
Beauchamp, James W. "Additive Synthesis of Harmonic Musical Tones."
Journal of the Acoustical Society of America, 14 (1966), 332-42.
Beauchamp, James W. "Foreward," in University of Illinois Experimental
Music Studio Technical Report No. 14. Urbana, 1968. A historical review
of work carried out on the Illiac II, which was powered down in 1968.
Beauchamp, James W. A Computer System for Time-Variant Harmonic Analysis
and Synthesis of Musical Tones. University of Illinois Experimental Music
Studio Technical Report No. 15. Urbana, [n.d.] Fourier analysis and
re-synthesis of natural tones.
Beauchamp, James W. A Report on the Magnavox Sponsored Research
Investigation `The Development of New Electronic Systems for Generating
Musical Sound.' University of Illinois Experimental Music Studio Technical
Report No. 10. Urbana, 1964. A review of the Illinois
composition/synthesis (7094/CSX-I) system, and suggestions for future
directions.
Beauchamp, James W. A Statement of Progress on the Research Investigation
"Generation and Creation of New Electronic Sounds." University of
Illinois Experimental Music Studio Technical Report No. 7. Urbana, 1963.
Includes a short discussion of problems in setting up digital synthesis.
Beauchamp, James W. Electronic Instrumentation for the Synthesis,
Control, and Analysis of Harmonic Musical Tones. Ph.D. Dissertation.
University of Illinois, Urbana, 1965. (FB).
Beauchamp, James W. Electronic Music Equipment 1950-1970: A Technical
Survey. University of Illinois Experimental Music Studio Technical Report
No. 21, Urbana, 1971. Review of and prospects for electronic music
hardware, including digital.
Divilbiss, J. L. "The Real-Time Generation of Music with a Digital
Computer," Journal of Music Theory, 18 (1964), 99-111. (FB) General
discussion of the Illinois system, especially viz-a-viz the Bell labs
system.
"Electronic brain composes at University of Illinois," Illinois Music
Educator, 16:1 (Sept.-Oct., 1956), 16. (C, No. 360).
Grossman, Gary R. "A Computer Sound-Generating Program Allowing
User-Defined Signal Production Algorithms," Journal of the Audio
Engineering Society, 15 (1967), 96. (K, No. 207) (Abstract.)
Grossman, Gary R., and J. W. Beauchamp. "A Provisional Sound Generating
Program for the ILLIAC II Computer and D/A Converter," in University of
Illinois Experimental Music Studio Technical Report No. 14. Urbana:
University of Illinois, 1966. (Pages 50-66). (FB) On the (discontinued)
ILLIAC II Program.
Hiller, Lejaren A., Jr. "Computer Music," in Cybernetic Serendipity,
edited by Jasia Reichard. New York: Frederick A. Praeger, 1969. (Pages
21-23). (K., No. 232).
Hiller, Lejaren A., Jr. "Computer Music," in Computer Applications in the
Behavioral Sciences. Edited by Harold Borko. Englewood Cliffs, New
Jersey: Prentice-Hall, 1962. (Pages 424-51). (C, No. 145).
Hiller, Lejaren A., Jr. "Electronic Music at the University of Illinois,"
Journal of Music Theory, 7:1 (1963), 99-126. (AS). Non-technical
discussion of Illinois hardware, software, and modus operandi.
Bibliography of compositions produced there.
Hiller, Lejaren A., Jr. "Juengste Entwicklungen auf dem Gebiet der
Computermusik," Darmstaedter Beitraege, 8 (1964), 35-62. Translated by
Peter Jansen. Discussion mostly of the Computer Cantata and MUSICOMP,
also including a little on digital sound generation.
Hiller, Lejaren A., Jr. "Programming a Computer for Music Composition,"
in Papers from the West Virginia University Conference on Computer
Applications in Music. Edited by Gerald Lekoff. Morgantown: West
Virginia University Library, 1967. (Pages 63-88). (FB)
Hiller, Lejaren A., Jr. "Some Comments on Computer Sound Synthesis,"
Proceedings of the American Society of University Composers, 1 (1968),
47-49. (K, No. 248).
Hiller, Lejaren A., Jr. "Some structural principles of computer music,"
Journal of the American Musicological Society, 9:3 (Fall 1956), 247-8.
(C, No. 561)
Hiller, Lejaren A., Jr., and J. W. Beauchamp. Review of Completed and
Proposed Research on Analysis and Synthesis of Musical Sounds by Analog
and Digital Techniques. University of Illinois Experimental Music Studio
Technical Report No. 19, Urbana, 1967. NSF proposal for support to adapt
MUSIC IV to Illinois system; to adapt programs on discontinued ILIAC to
newly acquired IBM 360; and to set up hybrid system. Includes review of
research, theses, etc. at Illinois, and bibliographies. (not collated here).
Hiller, Lejaren A., Jr. Analysis and Synthesis of Musical Sounds by
Analog and Digital Techniques -- An Interim Report to the National Science
Foundation. Urbana: University of Illinois Press, 1967 (K, No. 231).
Hiller, Lejaren A., Jr. "Electronic Synthesis of Microtonal Music,"
Proceedings of the American Society of University Compoosers, 2 (1969),
99-106. (K, no 236).
Hiller, Lejaren A., Jr. "Music Composed with Computer -- A Historical
Survey." University of Illinois Experimental Music Studio Technical
Report No. 18. Urbana, 1968.
Hiller, Lejaren A., Jr. "Musical Applications of Electronic Digital
Computers," Gravesaner Blaetter, 27-28 (Nov., 1965), 46-72. (K, No. 241).
Hiller, Lejaren A., Jr. Report on Contemporary Experimental Music, 1961.
University of Illinois Experimental Music Studio Technical Report No. 4.
Urbana, 1962. Discussion of sabbatical-year tour of foreign studios.
Includes notes on initial digital synthesis experiments.
Hiller, Lejaren A., Jr., J. L. Divilbiss, David Barron, H. Bruen, and Erh
Lin. Operator's Manual for the "CSX-I Music Machine." University of
Illinois Experimental Music Studio Technical Report No. 12. Urbana, 1966.
Hiller, Lejaren A., Jr., and A. Leal. Revised MUSICOMP Manual. Univ. of
Illinois Experimental Music Studio Technical Report No. 13. Urbana, 1966.
(FB: "with supplements to be added"). Includes information on the CSX-I
and the newer ILLIAC II synthesis programs.
Hiller, Lejaren A., Jr., and J. W. Beauchamp. "Research in Music with
Electronics," Science, 150 (1965), 161-9.
Hiller, Lejaren A., Jr., and L. M. Isaacson. Experimental Music:
Composition with an Electronic Computer. New York: McGraw-Hill, 1959.
Hiller, Lejaren A., Jr., and R. A. Baker. "Computer Cantata: An
Investigation of Compositional Procedure," Perspectives of New Music, 3
(1964), 62-90. (FB).
Hiller, Lejaren A., Jr., and R. A. Baker. Computer Cantata. University
of Illinois Experimental Music Studio Technical Report No. 8. Urbana,
1963. Description of the compositional process.
Lin, Erh. "Playing the Computer," Gravesaner Blaetter, 27/28 (1966), 81.
Cf. Illinois Technical Reports, No. 12; further information on the CSX-I
system.
Metze, G., and J. Bauknight. Magical Music Maker: a Four-Part
Music-Making Program for the Illiac II. Urbana: University of Illinois
Digital Computer Laboratory File No. 609, 1964. (K, No. 409).
Otis, A. B., Jr. An Analog Input-Output System for the ILLIAC II. M.S.
Thesis. University of Illinois, Urbana, 1967. (FB)
Otis, Alton B. "Artificial Reverberation," in University of Illinois
Experimental Music Studio Technical Report No. 14. Urbana, 1968 (Pages
16-37). Two programs: 1) for a series of all-pass reverberators 2) for a
single time-variant all-pass reverberator.
Otis, Alton B. "Low-Pass Digital Filtration," in University of Illinois
Experimental Music Studio Technical Report No. 14. Urbana, 1968. (Pages
1-15). User inputs cutoff frequency, attenuation desired at a given
frequency, and sampling rate; program determines lowest order of
Butterworth filter needed, produces filter formula, and processes signal.
Otis, Alton B. "Time Rate Changing," in University of Illinois
Experimental Music Studio Technical Report No. 14. Urbana, 1968. (Pages
38-49). Algorithms for digital change of rate (viz. tempo) but not pitch.
Otis, Alton B., Jr. An Analog Input-Output System for the ILIAC II.
University of Illinois Experimental Music Studio Technical Report No. 17.
Urbana, 1967.
Westergaard, Peter. "Experimental Music," Journal of Music Theory, 3
(1959), 302-306. (K, No. 613) A review of Hiller/Isaacson 1959. (vide supra).
Yates, Peter. "Musical Computers at Urbana," Arts and Architecture, 82:6
(June, 1965), 8, 34-35. (K, No. 626)
Buffalo
Asuar, Jose V. Programmed Control of Analog Sound Generators. Buffalo:
National Science Foundation Project No. GK-14191, Technical Report No. 5,
Jan. 1973. (K, No. 11)
Austin, Larry. "HPSCHD," Source, 4 (July 1968), 10-19. Also in Hiller,
L. A., Jr. Computer Programs used to produce the Composition HPSCHD.
Buffalo: National Science Foundation Project No. GK-14191, Technical
Report No. 4, Aug. 1972. (Pages 205-13). Also appeared in Swedish, in
Nutida Musik, 13:4 (1969-70), 16-25. (K, no. 13).
Brainerd, Robert F. Two Musical Applications of Computer Programming.
Buffalo: National Science Foundation Project No. GK-14191,
Technical Report No. 3, Sept. 1972. K, No. 65.
Hiller, Lejaren A., Jr. "Programming the I-Ching Oracle," Computer
Studies in the Humanities and Verbal Behavior, 3 (1970-72), 140-53.(K, No.
245). Also appears in Hiller, L. A. Computer Programs used to produce the
Composition HPSCHD. Buffalo: National Science Foundation Project No.
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Appleton, Jon H. "A Simple Musical Language for the Dartmouth Digital
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London
Douglas, Alan. Electronic Music Production. London: Pitman, 1973.
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Zinovieff, Peter. "A Computerized Electronic Music Studio," Electronic
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Computers," Scie. Tech. Aerosp. Rep., 4 (1966), 2312. (KN).
Acoustics: Some good books
Benade, Arthur H. Fundamentals of Musical acoustics. New York:
Oxford University Press, 1976. Chapters on sound, pitch,
timbre, room acoustics, loudness, and the instruments.
Winckel, Fritz. Music, Sound, and Sensation. Translated from the German
by Thomas Binkley. New York: Dover, 1967. Music ML3805 W761.
This is one of the worst German→English translations on record, which
is a shame, because Winkel often has some astute things to say
about certain topics. He treats the perception of music in terms
of information theory, although his statements on music reflect
his training in engineering. Bibliography.
Roederer, Juan G. Introduction to the Physics and Psychophysics of
Music. Berlin: Springer, 1973.
Levarie, Siegmund, and Ernst Levy. Tone: A Study in Musical
Acoustics. Kent, Ohio: Kent State University Press, 1968.
Music theory, instruments seen in the light [?] of acoustics.
Richardson, E. G. Technical Aspects of Sound. Amsterdam: Elsevier,
1962. 3 vols. Eng. QC233.R49
Morse, Philip M., and K. Uno Ingard. Theoretical Acoustics.
New York: McGraw-Hill, 1968.
Sabine, Wallace C. Collected Papers on acoustics.
New York: Dover, 1964.
PSYCHOACOUSTICS: GENERAL
Butler, R.A. "Influence of spatial separation of sound sources on auditory
evoked response." Neuropsychologica, 10, (1972), 824.
Coleman "Failure to localize the source distance of an unfamiliar sound."
JASA, 34, (1962), 345.
Frederickson, E.W., Donohue, R.A. "Auditory and visual tracking of a
moving target." HumRRO Technical Report. 70-4, (1970).
Fritze, W. "A testing procedure for spatial hearing"
Acta Oto-Laryngologica, 79(1-2), (1975).
Gravettr, F.J. Lockhead, G.R. "Criterial dispersions and the stimulus
range." Proceedings of An.Conv. of the American Psychological Assn.,
5(pt. 1), (1970).
Han, T.S. "Intrinsic structure of auditory sensation space with special
reference to equal-sensation contours." Biological Cybernetics, 20,
(1975), 27.
Hanson and Kock "Interesting effect produced by two loudspeakers
in echo-free conditions." JASA, 29,(1957), 145.
Huppert, F., Ainfwe, G. "An aftereffect in judgement of auditory
duration." Perception and psychophysics, 2(11), (1968), 544.
Denes, P. B., and Max V. <Mathews>. "Computer models for speech and music
appreciation." Proc. Fall Joint Computer Conference, 1968. 319-327.
Overview of speech synthesis, with discussion of similarity of problems
involved in composition algorithm programs. Bibliography.
Freedman, M. David. "A Technique for Analyysis of Musical Instrument
Tones." PhD Thesis, U. of Illinois (1965?). JASA 41:793-806, 1967. (abstract)
Digitation, spectral analysis, synthesis of tones. (IL14) (K, No. 187, 188).
Dissert. Abstracts. 26 (1965-66), 7216.
Gardner, Mark b. Proximity Image Effect in sound Localization.
J. Acoust. Soc. Am, Vol. 43, No. 1, 1968, p. 163. (JAM)
Kanda, H., Oguro, H., Ohara, T. "Fundamental frequency of signal sound
and audible distance." Journal of Science and Labour. 46(2), (1970),
80.
Licklider, J.C.R. "Basic Correlates of the auditory Stimulus." in
S. S. Stevens, ed., Handbook of Experimental Psychology (New York, 1951)
, p. 1004 (H: "A good introduction to spychoacoustics, now
somewhat out of date.")
Luce, David A. Physical Ccorrelates of Nonpercussive Musical Instrument
Tones. PhD Thesis, MIT, 1963. (IL10)
Man'kovskii, V.S. "The influence of visual perception upon auditory
localization of a sound source." Voprosy Psikholognii,
15(4), (1969), 57.
Marks and Slawson. "Direct Test of the Power Function for Loudness."
Science 154:1036-7, 1966. (H)
Morse, P.M. Vibration and Sound. New York: McGraw-Hill, 1948.
MM: "A mathematical, technical book written from the physicist's standpoint."
Psychoacoustics
Randall, J.K. "Operations on waveforms." Perspectives of New Music,
V/2 [spring-summer 1967] 124--140.(H)
Randall, J.K. "Theories of Musical structure as a Source for Problems in
Psycho-acoustical Research." Perspectives of New Music
V/2 [spring-summer 1967], 124-140. (H)
Richelle, M. et al. "Influence of a simultaneous visual stimulus on the
localization of an auditory stimulus." Schweizerische Zeitschrift fur
Psychologie und ihre Andwendungen, 28(1), (1969), 1.
Ruff, R.M., Perret, E. "Auditory spatial pattern perception aided by
visual choices." Psychological Research, 38, (1976), 369.
Simpson, W.E., Cochran, P., Throop, J. "Magnitude estimates of the
distance of speech stimuli." Psychonomic Bulletin. 1(2), 1969), 1.
Risset, Jean-Claude. Computer Study of Trumpet Tones. Murray
Hill, N.J.: Bell Telephone Labs, 1968. Abstract published in
Journal of the acoustical society of America 38:912, Nov., 1965. "Presenting
a detailed explanation of objectives, methods, and results, this
study concludes with a demonstration tape revealing the high degree of
accuracy of the analysis." (H)
Stevens, S. S., and Halowell davis. Hearing, Its Psychology and Physiolog.
new York: 1938. (H)
Strong, William J. Synthesis and Recognition of Characteristics of
Wind Instrument Tones. PhD Thesis, MIT, 1963. (IL10)
Taylor, C. A. The Physics of Musical Sounds. London: English Underwriter's
Press, 1965. MM: "A less technical book than Morse's; still from the
physicist's standpoint."
Thurlow, Marten and Balchandra "Localization of sound from two plane-wave
sources." JASA, 37, (1965), 837.
Vaughn, O.H. "Organization of body space: an exploratory study."
Diss. Abstr., 28(5-b), (1967), 2170.
Wallach "On sound localization."
JASA, 10, (1939), 270
Wallach, Newman and Rosenzweig
"The Precedence Effect in Sound Localization."
AJS, 62, (1949), 315.
See also:
FB, p. 61, xv
IL15
MM p. 179
PSYCHOACOUSTICS: REVERBERATON / INTENSITY
Basset and Eastmond. "Echolocation:Measurement of pitch versus distance
for sounds reflected from a flat surface." JASA,36, (1964), 911.
Chowning, John M. "The Simulation of moving sound sources". Audio
Engineering Soc - paper presented at 38th convention May,1970.
Gardner, M.B. "Image Fusion, Broadening, and Displacement in Sound
Location JASA, 42, (1969).
Gardner, M.B. "Proximity image effect in sound localization." JASA,
43(1), (1969), 163.
Lackner, J.R. "An auditory illusion of depth." Cognition, 1(2-3),(1972),
201.
Mershon, D.H., King, L.E. "Intensity and reverberation as factors in
auditory perception of egocentric distance." Bulletin of the Psychonomic
Society, 6, (1975), 409,442.
Molino, J. "Perceiving the range of a sound source when the direction is
known". JASA, 53(5),1973, 1301.
Pollack, I. "Auditory Pulsed Doppler Discrimination" JASA, 44, (1968),
592.
Schroeder, M.R., Logan, B.F. "`Colorless' Artificial Reverberation."u
Journal of the Audio Engineering Soc. 9, (1961), 192.
Schroeder, M.R., "Natural Sounding Artificial Reverberation." Journal of
the Audio Engineering Soc. 10, (1962), 219.
Schroeder, M.R., "Kuttruff, K.H., On Frequency response curves in rooms."
JASA, 34,(1962), 76.
Schroeder, M.R. "Improved Quasi-sterophony and colorless artificial
reverberation." JASA, 33, (1961), 1061.
Schroeder, M.R., Atal, G.M., Sessler, G.M., West, J.E. "Acoustic
measurements of Philharmonic Hall (NY)", JASA, 40, (1970), 431.
Toole, F.E. "Free-field localization of acoustic images" JASA, 42,
(1967), 1179.
scratch file for reverberation
Basset and Eastmond. "Echolocation:Measurement of pitch versus distance
for sounds reflected from a flat surface." JASA,36, (1964), 911.
Beranek. Acoustics and Architecture.
Beranek. JASA 32(6):661-70, June 1960.
Beranek. Music, Acoustics, and Architecture. NY: Wiley, 1962.
Art NA2800 B4 1962.
Blauert, Jens. Raeumliches Hoeren.
Chowning, John M. "The Simulation of moving sound sources". Audio
Engineering Soc - paper presented at 38th convention May,1970.
Culver, C. A. Musical Acoustics.
Gardner, M.B. "Image Fusion, Broadening, and Displacement in Sound
Location JASA, 42, (1969).
Gardner, M.B. "Proximity image effect in sound localization." JASA,
43(1), (1969), 163.
Jordan, V. L. Applied acoustics. 1:29, 1968; 2:59, 1969.
Jordan, W. The Building-up Process of Sound Pulses in a Room.
Proc. Third ICA Conf. Stuttgart 1959 [ICA: Intern.Cong.Acoust.].
Kuhl, W. Guenstige Nachhallzeit grosser Musikstudios. Acustica 4:618, 1954.
Kuttruff. "Kuenstlicher Nachhall". Frequenz 16:91 (1961)
Kuttruff. Room Acoustics.
Lackner, J.R. "An auditory illusion of depth." Cognition, 1(2-3),(1972),
201.
Lochner, J.P.A. Stereophonic and Quasi-stereophonic Reproduction.
JASA 32:393, 1960.
Mershon, D.H., King, L.E. "Intensity and reverberation as factors in
auditory perception of egocentric distance." Bulletin of the Psychonomic
Society, 6, (1975), 409,442.
Meyer, Erwin, and H. Kuttruff. "Progress in Architectural Acoustics."
in Richardson, E. G. Technical Aspects of Sound. Amsterdam: Elsevier,
1962. Vol. III:221-332. Eng. QC233.R49
Molino, J. "Perceiving the range of a sound source when the direction is
known". JASA, 53(5),1973, 1301.
Niese. Pruefung des raumakustischen Echograd-Kriteriums.
Hochfrequenz und Elektroakustik. 66:70 (1957).
Pollack, I. "Auditory Pulsed Doppler Discrimination" JASA, 44, (1968),
592.
RAAB, D. H. Psychol. Bull. 60:118, 1963.
Schodder Acustica 6:482, 1956.
Schroeder JAES 6:74, 1958.
Schroeder, J. R. "Complemantarity of Sound Buildup and Decay." JASA 40:
549-51, 1966.
Schroeder, M.R. "Improved Quasi-sterophony and colorless artificial
reverberation." JASA, 33, (1961), 1061.
Schroeder, M.R. Computer Models for Concert Hall Acoustics.
Am.J.Physics, 41:461-471, 1973.
Schroeder, M.R., "Kuttruff, K.H., On Frequency response curves in rooms."
JASA, 34,(1962), 76.
Schroeder, M.R., "Natural Sounding Artificial Reverberation." Journal of
the Audio Engineering Soc. 10, (1962), 219.
Schroeder, M.R., Atal, G.M. Computer Simulation of Sound Transmission
in Rooms. IEEE Int. conv. Rec. 7:150-55, 1963. (Kunstkopf→filter→speakers)
Schroeder, M.R., Atal, G.M., Sessler, G.M., West, J.E. "Acoustic
measurements of Philharmonic Hall (NY)", JASA, 40, (1970), 431.
Schroeder, M.R., Logan, B.F. "`Colorless' Artificial Reverberation."u
Journal of the Audio Engineering Soc. 9, (1961), 192.
Schroeder. science 151:1355, 1966.
Schroeder: JASA 47:424, 1970.
Seraphim, H.P. Ueber die Wahrnehmbarkeit mehrerer Rueckwuerfe von
Sprachschall." acustica 11:92-96,
Thiele. Schallrueckwuerfe in raeumen. Akustica Beiheft 3:291, 1953.
Toole, F.E. "Free-field localization of acoustic images" JASA, 42,
(1967), 1179.
PSYCHOACOUSTICS: HEARING MECHANISMS
Batteau "Role of the Pinna in Localization."
Proc. Royal Soc of Lon. (B),1967.
Batteau, D.W. Role of the pinna in localization:theoretical and physio-
logical consequences. Hearing Mechanisms in Vertebrates, Little, Brown and
Co. 1968. Paper presented at CIBA foundation symposium, 1967.
Freedman, Sanford J.,ed.
The neuropsychology of spatially oriented behavior
1968,
Homewood, Illinois: Dorsey Press, 1968. BF 468 N4 (Meyer lib)
A collection of papers presented at a conference on the neuropsychology
of spatially oriented behavior at Tufts Univ, 1966.
Neff, W.D. Behavioral studies of auditory discrimination: localization
of sound in space. Hearing Mechanisms in Vertebrates, Little Brown and Co.
1968. Paper presented at CIBA foundation symposium, 1967.
PSYCHOACOUSTICS: LATERALIZATION AND DICHOTIC RESEARCH
van Bergeijk "Variations on a Theme of Bekesy: A Model of Binaural
Interaction." JASA, 34, (1962), 1431.
Feddersen, Sandel, Teas and Jeffress "Localization of High Frequency Tones"
JASA, 29, (1957), 988.
Guttman "A mapping of binaural click lateralizations."
JASA, 34, (1962), 87.
Harris "Binaural interactions of impulsive stimuli and pure tones."
JASA, 32, (1960), 685..
Mills "On the minimum audible angle".
JASA, 30, (1959), 237.
Mills "Lateralization of High frequency tones."
JASA, 32, (1960), 132.
Moushegian and Jeffress "Role of interaural time and intensity differences
in the lateralization of low frequency tones." JASA, 31, (1959), 1441.
Perrot, D.R. "Role of signal onset in sound localization."
JASA, 45, (1969), 436.
Sandel,Teas,Feddersen and Jeffress. "Localization of sound from single
and paired sources." JASA, 27, (1955), 842.
Teas "Lateralization of acoustic transients."
JASA, 34, (1962), 1460.
Thurlowe and Runge "Effect of induced head movements on localization of
direction of sounds." JASA, 42, (1967).
Tobias and Schubert "Effective onset duration of auditory stimuli."
JASA, 31, (1959), 1595.
Tobias and Zerlin "Lateralization threshold as a function of stimulus
duration." JASA, 31,(1959), 1591.
Whitworth and Jeffress "Time vs Intensity
in the localization of tones." JASA, 33,(1961), 143.
Zwislocki and Feldman "Just Noticeable Differences in dichotic phase"
JASA, 28, (1956), 860.
Psychoacoustics: Historical
Du Bois-Reymond, Emil. Reden, Vol. II. Leipzig: Von Veit, 1912.
"Gedaechtnisrede auf Hermann von Helmholtz, gehalten in der
Leibniz-Sitzung der Akademie der wissenschaften am 4. Juli 1985", pp.
516-573. A contemporary appreciation of Helmholtz' contributions to
science. 612.04 D81r ed. 2
Helmholtz, H. von. On the Sensations of Tone as a Physiological Basis for
the theory of music. New York: Dover, 1954. Music ML3820 H4792 1954.
Helmholtz, H. von. Philosophische Vortraege und Aufsaetze. Berlin(GDR):
Akademie-Verlag, 1971. Includes an 80-page introduction [in German]
discussing Helmholtz's more philsophical ideas. Bibliography of writings
about Helmholtz. Main Q113.H393.1971.
Helmholtz, H. von. Popular Lectures on Scientific Subjects. New York:
Longman, Green, and Co., 1903. translated by E. Atkinson. Includes
transl. of An Autobiographical Sketch. 504 H479a v.2 1903
Helmholtz, H. von. Selected Writings. Ed. by Russell Kahl. Middletown,
Conn.: Wesleyan Univ. Press, 1971. Main Q113 H39313. Contains among
others "The Physiological Causes of Harmony in Music" [1871], and "An
Autobiographical Sketch."
Helmholtz, H. von. Wissenschaftliche Abhandlungen. Leipzig: J. A.
Barth, 1882. 2 vols. Main 530.4 H 479. Vol. I contains a series of
articles grouped under the heading of "Schallbewegung", and including
topics such as tuning, temperament, friction of air molecules, combination
tones, reed pipes, etc. Vol. II contains three articles on the physiology
of the ear.
Helmholtz, H. von. Vorlesungen ueber Theoretische Physik. Haburg: Voss,
1897. 6 vols. 530 H479
Herrmann, Erich. Ueber die Klangfarbe einiger Orchesterinstrumente und
ihre Analyse. Ph.D. Diss., Koenigsberg [now Kaliningrad], 1908. Music
ML3807 M568.
Koenigsberger, Leo. Hermann von Helmholtz. Braunschweig: Vieweg, 1911.
356 p. biography, including at least mention and short discusion of H.'s
writings.509.2 H479 ka
Lindig, Franz. Ueber den Einfluss der Phasen auf die Klangfarbe. Ph.D.
Diss., Univ. Kiel, 1908. Music ML3807 L745.
Meyer, Max. Ueber Kombinationstoene und einige hierzu in Beziehung
stehende akustische Erscheinungen. Ph. D. Diss., Berlin, 1896. Music ML
3807 M613.
Sauveur, Joseph. Principes d'Acoustique et de Musique; ou Systeme General
des Intervalles des Sons. Geneva: Minkoff, 1973. Reprint of 1701
edition. Music ML3809 S262 1973.
Strutt, John William, Baron Rayleigh. The Theory of Sound. New York:
Dover, 1945. Reprint of 2nd Edition, 1894. 2 Vols.
Tyndall, John. The Science of Sound. New York: Philosophical Library,
1964, reprint of 1875 edition. General theory of propagation of sound in
air, wind sirens, perception, vibrations of various kinds of bodies, as
well as "acoustic transparency" of the air as related to foghorn [!]
problems. Suggests "Clang-tint" as translation for "Klangfarbe," and
"Overtone" for "Oberton". Lane B223 T98 (1875) 1964
Wood, Alexander. The Physics of Music. London: Methuen, 1962. 6th
Edition, revised by J. M. Bowsher. Music ML3805 W873 1962.
TIMBRE: PREFACE
The bibliography is broken up into several topics. These are: 1) GENERAL
ENTRIES ON TIMBRE. 2) ELECTRONIC SYNTHESIS OF TIMBRE. 3) TIMBRE OF MUSICAL
INSTRUMENTS. 4) PERCEPTION OF TIMBRE. Each section is divided into smaller
subsections according to more specific subjects. In general, this bibliography
progresses from the general to the more specific. Annotation
is limited to the larger or more significant works. Some entries were obtained
second hand (i.e. another bibliography) and sometimes do not have the complete
information listed such as page numbers and dates.
TIMBRE, SECTION I -- GENERAL ENTRIES ON TIMBRE
-Books and Larger Treatises Dealing Primarily with Timbre
These are some of the larger works on timbre in general. Not included
are books or essays on a more facet subject of timbre. This category is
generally quite accessable to musicians with minimal technical backgound,
although some entries can become somewhat opaque in spots.
ERIKSON, Robert. SOUND STRUCTURE IN MUSIC. Berkeley, University of
California Press, 1975. 194 pages.
An interesting book which is geared toward musicians. It deals
with timbre in a musical context and includes many exerpts from
scores as examples.
HANDSCHIN, J. DER TONCHARAKTER. Zurich, Atlantis, 1948. 425 pages.
Extensive coverage of timbre for the time it was written.
SCHUMANN, E. DIE PHYSIK DER KLANGFARBEN. Berlin, 1929.
WINKHAUS, Hans. VERGLEICHENDE AKUSTISCHE UNTERSUCHUNGEN. Ph.D. dissertation,
Freidrich-Wilhelms-Universitaet, Berlin, 1930. 80 pages.
Lots of Fourier interpretations of early oscilloscope photos.
-Articles on Timbre in General Acoustic Texts
I have been selective in this category and have only included books
that are either very famous or quite recent. This seems justified in
the case of timbre because it is a relatively new field of study and
many of the older books are inadequate on this subject, though they
may be quite sound in other areas of acoustics.
BACKUS, John. "Tone Quality." in THE ACOUSTICAL FOUNDATIONS OF MUSIC.
New York, W.W. Norton & Co., Inc., 1969. chapter 6, pp 94-109.
The musicians' standard manual of acoustics. Very well written,
but somewhat out of date as far as the chapter on timbre is
concerned.
BENADE, Arthur H. "The Voice as a Musical Instrument." in FUNDAMENTALS
OF MUSICAL ACOUSTICS. New York, Oxford University Press, 1976.
pp 360-390.
Colorful and loaded with physics examples to illustrate the
acoustical principals of musical instruments.
HELMHOLTZ, Hermann L.F, ON THE SENSATIONS OF TONE. New York, Dover
Publications, 1954. part I, pp 7-151.
A classic by the pioneer of musical acoustics. Virtually every entry
in this bibliography begins with ideas first postualted by Helmholtz.
JOSEPHS, Jess J. "Quality and Synthesized Sounds." in THE PHYSICS OF
MUSICAL SOUND. Princton, D, Van Nostrand Co., Inc., 1967. chapter
4, pp 67-77.
Clear, but very basic.
LEVARIE, Siegmund, and Ernst Levy. TONE. Ohio, Kent State University Press,
1975. General timbre info., pp 63-64; for voice, pp 76-78; for
strings, pp 104-108; for keyboard, pp 116-118; for winds, pp 137-
140; for organ, 146-147; for percussion, pp 155-162.
Well put together in textbook format. It is indicative of a current trend
in that it is based on a psycho-physical approach.
RISSET, Jean-Claude. "Timbre." in MUSICAL ACOUSTICS. unpublished. Section
II,D, pp 14-16.
ROEDERER, Juan. "Generation of Musical Sounds, Complex Tones, and the
Perception of Tone Quality." in INTRODUCTION TO THE PHYSICS AND
PSYCHOPHYSICS OF MUSIC. New York, Springer-Verlag, 1973. chapter
4, pp 87-131.
An excellent primer to the subject. It stresses an "interdisciplinary"
approach and is a little more tecnical than the other books in this
subsection.
WINCKEL, Fritz. "Stationary Sound" and " The Onset Behavior of Sound."
in MUSIC, SOUND AND SENSATION. New York, Dover Publications, 1967.
chapters II and III, pp 6-57.
Highly recommended as a lucid exposition of the nature of musical
sound, which acknowledges the rising prominance of psychoacoustics.
Includes many musical examples.
WOOD, Alex. "Musical Quality." in THE PHYSICS OF MUSIC. London, Methuen
and Co., 1944. pp 61-77.
Often cited, but the section on timbre is quite obselete.
-Articles on Timbre from Music and Technical Journals, and dissertations
The bulk of acoustical research is documented in journal form. In
order to keep abreast of the field it is essential to keep posted on these
articles. The following entries are topically of a general or miscellaneous
nature with regards to timbre. Fortunately for me, the titles of these
articles are frequently descriptive of the contents, and are of considerable
help in the absence of abstracts. Two abbreviations to be used thoughout this
bibliography are introduced in this section. There are: 1) JASA for THE
JOURNAL OF THE ACOUSTICAL SOCIETY OF AMERICA, and 2) JAES for JOURNAL OF
THE AUDIO ENGINEERING SOCIETY.
BACKHAUS, H., "Ueber die Bedeutung der Ausgleichsvorgaenge in der Akustik",
in ZEITSCHRIFT FUER TECHNISCHE PHYSIK, v. 13, no. 1, 1932, PP 31-46.
An important, standard reference for contemporary reseachers.
BISMARCK, G. von. "Timbre of Steady Sounds: A Factorial Investigation
of its Verbal Attributes." ACOUSTICA, v. 30, 1974. pp 146-159.
BISMARCK, G. von. "Sharpness as in Attribute of the Timbre of Steady
Sounds." ACOUSTICA, v. 30, 1974. pp 159-172.
BRANDT, S. "Ueber Verschiedenheit des Klanges (Klangfarbe)." Ann. Phys.
Chem. v. 112,(c..1860). pp 324--336.
BUDDE, Hans-Guenther. "Exkurs ueber die Klangfarbe." in EXPERIMENTELLE
UNTERSUCHUNGEN UEBER PARTIALSYSTEME DES MUSIKALISCHEN DIFFER-
ENZIERUNGESBEREICHS. Ph.D. diss., Westfaelischen Wilhelms-
Universitaet, Muenster, 1974. pp 33-36.
ERICKSON, Robert, ed. "Timbre Seminar Readings." in "Four views of
the Music Department ot the University of California at San
Diego." in SYNTHESIS, v. 1, no. 2, 1971.
FLETCHER, Harvey. "Loudness, Pitch and the Timbre of Musical Tones and
Their Relation to the Intensity, the Frequency and the Overtone
Stucture." JASA,v. 6, no. 2, October 1934. pp 59-69.
FLETCHER,R. H. "The Pitch, Loudness, and Quality of Musical Tones." in
AMERICAN JOURNAL OF PHYSICS, v. 14, 1946. pp 215-225.
LAAFF, E. "Uberschaetzung des Klanges?" DAS MUSIKLEBEN, v. VII, 1954.
pp 1649-1653.
HAHLBOHM, Hans- Dieter. "Dauertoene und Tonqualitaeten." in UEBER
ZUORDNUNGSMOEGLICHKEITEN VON TONEIGENSCHAFTEN ZU PHYSICALISCHEN
GROESSEN ERLAEUTERT AM BEISPIEL DER HELLIGKEIT. Ph.D diss.,
Freien Universitaet Berlin, 1958. chapter 3, pp 14-19.
HUTCHINS, C.M., "Moderne Klanganalyse und Wissenschaftliche Anwendung."
in SCHRIFTEN DES VEREINS ZUR VERBREITUNG NATURWISSENSCHAFT. KENNTNISSE
IN WIEN, BERICHT UBER DAS 104. VEREINSJAHR. 1963/64, PP 43-66.
LICHTE, W.H. "Attributes of Complex Tones." in JOURNAL OF EXPERIMENTAL .
PSYCHOLOGY, v. 28, no. 6, June, 1941. pp 455-480.
MEYER-EPPLER, W., H. Sendoff, and R. Rupprath. "Residualton und Formantton."
in GRAVESANER BLAETTER, v. 4, 1959. pp 70-83.
ORTMAN, O. "What is Tone Quality." in MUSICAL QUARTERLY 22, 1935.
pp 442-450.
PLOMP, R. and H.J.M. STEENEKEN, "Pitch Versus Timbre". from
SEVENTH INTERNATIONAL CONGRESS ON ACOUSTICS, BUDAPEST
1971. pp 377-380.
ROTHSCHILD, D.A. "THe Timbre Vibrato." in Stud. Psych. Mus. I, 1932.
pp 236-244.
SCHMIDT-GOERG, J. "Probleme und Methoden der Musikalischen Klangfarben-
forschung. in ZEITSCHRIFT FUER MUSIKWISSENSCHAFT, v. 15, 1933.
pp 61-69.
SLAWSON, A.W., "Vowel Quality and Musical Timbre as Functions of
Spectrum Envelope and Fundamental Frequency", in JASA, v.
43, no.1, 1968. pp 87-101.
TENNEY, J.C. " Die Physicalischen Korrelate der Klangfarbe." in
GRAVESANER BLAETTER, v. 26, 1965. pp 103-105.
TIMBRE, SECTION II -- ELECTRONIC SYNTHESIS OF TIMBRE
-Sections on Timbre in Electronic Music Texts
Since the why's and how's of timbre production and manipulation
have always been a central concern in electronic music, it is not very
surprising that many of the texts in this field include explanations
of the fundamentals of timbre. The following entries are characteristic
if not inclusive.
DOUGLAS, Alan. "Properties of Conventional Musical Instruments." in
ELECTRONIC MUSIC PRODUCTION. London, Pitman Publishing, 1973.
Bases electronic music synthesis on the study of the properties
of conventional musical instruments.
HOWE, Hubert S. "Acoustics and Psychacoustics." in ELECTRONIC MUSIC
SYNTHESIS. New York, W.W. Norton and Co., Inc., 1975. pp 23-26
dealing specically with timbre.
A good, brief overview of the topic. It also differentiates between
physical acoustics and perceptual acoustics from the outset -
a solid approach.
PIERCE, J.R. "Appendix A Psychoacoustics and Music." in THE TECH-
NOLOGY OF COMPUTER MUSIC by Max V. Mathews, et al. Cambridge,
Mass., M.I.T. Press, 1969. pp 175-176 dealin specifically with
timbre.
STRANGE, Allen. ELCTRONIC MUSIC. Wm. C. Brown Publishers, 1972.
No one section dealing with timbre, but there are frequent references
to it throughout the book.
-Articles on electronic timbre synthesis
Again, utilizing technical and music journals. The emphasis here
is on digital synthesis.
CHOWNING, John M. "The Synthesis of Complex Audio Spectra by Means of
Frequency Modulation." in JAES, v. 21, no. 7, Sept. 1973. pp 526-534.
Besides explaining the FM phenomenon, Chowning describes an instru-
ment to generate it.
CLARK, Melville, Jr., and William Strong, "Synthesis of Wind Instrument
Tones ", in JASA, v. 41, no. 1, May 1966. pp 39-52.
HILLER, Lejaren, and Pierre Ruiz. "Synjthesizing Musical Sounds by Solving
the Wave Equation for Vibrating Objects: Part I." in JAES, v. 19, no.
6, June, 1971. pp 462-470.
HILLER, Lejaren, and Pierre Ruiz. "Synthesizing Musical Sounds by Solving
the Wave Equation for Vibrating Objects: part II." in JAES, v. 19,
no. 7, July/August, 1971. pp 542-551.
RISSET, J.C. "Synthesis of Sound by Computer and Problems Concerning
Timbre." in MUSIC AND TECHNOLOGY, Stockholm meeting, 1970.
Paris, La Revue Musicale, 1971. pp 117-128.
TIMBRE, SECTION III -- TIMBRE OF MUSICAL INSTRUMENTS
-Instruments in General
Books and articles concerned with the timbre of conventional musical
instruments, often with synthesis of timbre as the ultimate goal. This
subsection consists of entries which do not address themselves to a
specified family of instruments.
CLARK, Melville, Jr., and David Luce, "Durations of Attack Transients
of Nonpercussive Orchestral Instruments". in JAES, v. 13, no. 3,
July, 1965. pp 194-199.
CLARK, Melville, Jr., Paul Robertson and David Luce. "A Preliminary
Study on the Perpetual Basis of Musical Instrument Families". in
JASA, v. 12, no. 3, 1964. pp 199-203.
FREEDMAN, M. David, "Analysis of Musical Instrument Tones". .in JASA, v. 41,
no. 4, August 1966. pp 793-806.
FREEDMAN, M. David, "A Method for Analyzing Musical Tones". in JAES, v. ,
16, no. 4, October 1968. pp 419-425.
HERRMANN, E. UBER DIE KLANGFARBE EINIGER ORCHESTERINSTRUMENTE UND IHRE
ANALYSE. Ph.D. disseration, Koenigsberg-Stuttgart, 1908. 105 pages.
Follows up on Helmholtz's work. It is surprisingly sound for its age.
LUCE, David A., PHYSICAL CORRELATES OF NONPERCUSSIVE MUSICAL INSTRUMENT
TONES, Ph.D. diss., MIT, 1963. 361 pages.
MEYER, E., and G. Buchmann. "Die Klangspektren der Musikinstrumente."
Sitzungsber. d. preuss. Ak. der Wissenschaft Physical.-Math.
Klasse XXXII, Berlin, 1931.
RAMAN, C.V. "Musikinstrumente und ihre Klange." in HANDBUCH DER PHYSIK,
v. 8, 1927.
RISSET, Jean-Claude.,and Max V. Mathews. "Analysis of Musical-Instrument
Tones." in PHYSICS TODAY, 22:2, Feb. 1969. pp 23-30.
ROESING, H. "Objectiver Klang und Subjectiver Klangseindruck der Musik-
instrumente." in DAS MUSIKINSTRUMENT, v. 15, 1966, pp 1232-1234.
ROESING, Helmut. PROBLEME UND NEUE WEGE DER ANALYSE VON INSTRUMENTEN
UND ORCHESTERKLAENGEN. Wien, Verlag Notring, 1970.
Advocates orchestration from a scientific basis.
SALDANHA, E.L. and John F. Corso. "Timbre Cues and the Identification of
Musical Instruments." in JASA 36:?, 1964. pp 2021-2026.
-Wind Instruments
ASCHOFF, V. "Experimentelle Untersuchungen an einer Klarinette." in
AKUST. ZS., v. 1, 1936. pp 77-93.
BACKUS, J.F. "Effect of Wall Material on Steady-State Tone Quality of
Woodwind Instruments." in JASA, v. 36, 1964. pp 1881-1887.
BACKUS, J., and T.C. Hundley. "Harmonic Generation in the Trumpet."
in JASA, v. 49, 1971.
BENADE, Arthur H. "Basic Determinants of Tone Color." in ON THE TONE
AND RESPONSE OF WIND INSTRUMENTS FROM AN ACOUSTICAL STANDPOINT.
unpublished. pp 29-38.
JOST, E. "Akustische und Psychomettrische Untersuchen an Klarinetten-
klaengen." in ARNO VOLK VERLAG, 1967.
LUCE, David, and Melville Clark, Jr. "Physical Correlates of Brass-Instrument
Tones", in JAES, v. 42,no. 6, March 1967. pp 1232-1243.
MCGINNIS, C.S., H. Hawkins, and N.Sher. "Experimental Study of the Tone
Quality of a Clarinet." in JASA, v. 24, 1943. pp 228-237.
MEYER, J. "Akustische Untersuchungen ueber den Klang des Hornes." in
DAS MUSIKINSTRUMENT, v. 16, 1967. pp 32-37.
MEYER, J. "Die Klangspektren von Klarinetten." in DAS MUSIKINSTRUMENT,
v. 13, 1964. pp 685-694.
MILLER, D.C. "The Influence of the Material of Wind Instruments on the
Tone Quality." in SCIENCE, v. 29, 1909. pp 161-171.
NEDERVEEN, Conelis J. "Tone Quality of Woodwind Instruments." in
ACOUSTICAL ASPECTS OF WOODWIND INSTRUMENTS. Amsterdam, Frits Knuf,
1969. pp 93-95.
Although he doesn't deal with timbre in the bulk of the paper, the
section cited summizes a few of the problems in considering timbre.
PARKER, S.E. "Analyses of the Tones of Wooden and Metal Clarinets." in
JASA, v. 19, 1945. pp 415-419.
RISSET, Jean-Claude. COMPUTER STUDY OF TRUMPET TONES. unpublished.
93 pages.
This approach important for any one interested in digital synthesis.
STRONG, William, and Melville Clark, Jr. "Perturbations of Synthetic
Orchestral Wind-Instrument Tones", in JASA, v. 41,no. 2, 1967. pp .
277-285.
-String Instruments
ABOTT, R.B., "Response Measurements and Harmonic Analysis of Violin Tones."
in JASA, v. 7, 1936. pp 111-116.
BOOMSLITER, Paul C., and Warren Creel. "Research Potentials in Auditory
Characteristics of Violin Tone." in JASA, v. 51, no.6(part 2), 1972.
pp 1984-1993.
FLETCHER, H., and C. Sanders. "Quality of Violin Vibrato Tones." in
JASA, v. 41, no. 6, 1967. pp 1534-1544.
FLETCHER, H., E.D.U. Blackham, O.N. Geertsesen. "Quality of Violin,
Viola, Cello, and Bass Viol Tones." in JASA, v. 37, 1965.
pp 850-863.
KASANSKY, W.S., and S.N. Reschevkin. "Investigation of Timbre of the
Human Voice and Musical Stringed Instruments." in ZEITSCHRIFT
FUR PHYSIK, v. 47, 1928.
MATHEWS, Max V., Joan E. Miller, J.R. Pierce, and James Tenney. COMPUTER
STUDY OF VIOLIN TONES. unpublished. 23 pages.
MEINEL, H. "Akustische Eigenschaften klanglich hervorragender Geigen."
in AKUSTISCHE ZEITSCHRIFT FUR TECHNISCHE PHYSIK, v. 4, 1939. pp
89-112, and v. 5, 1940. pp 283-300.
MEINEL, H. "Regarding the Sound Quality of Violins and a Scientific
Basis for Violin Construction." in JASA, v. 29, 1957. pp
817-822.
MEINEL, H. "Schalltechnische Pruefung der klanglichen Qualitaet von Geigen."
in ZEITSCHRIFT FUR TECHNISCHE PHYSIK, v. 19, 1938. pp 297-307.
RITZ, J. UNTERSUCHUNG UEBER DIE ZUSAMMENSETZUNG DER KLAENGE DER STREICH-
INSTRUMENTE. Munchen, 1883.
ROHLOFF, E. "Der Klangcharakter altitalienischer Meistergeigen." in
ZEITSCHAFT FUR ANGEWANDTE PHYSIK, v. 2, 1958. pp 145-150.
-Voice
A unique category in this bibliography in that a subject besides
music, namely speech, is often the ultimate concern.
HEMLHOLTZ, H.L.F. von. "Ueber die Klangfarbe der Vocale." in ANN. PHYS.
CHEM., v. 18, c. 1870. pp 280-290.
KASANSKY, W.S., and S.N. Reschevkin. "Investigation of Timbre of the
Human Voice and Musical Stringed Instruments." in ZEITSCHRIFT
FUR PHYSIK, v. 47, 1928.
KLEIN W., R. Plomp, and L.C.W. Pols, "Vowel Spectra, Vowel Spaces, and
Vowel Identification". in JASA, v. 48, no. 4, October 1970. pp .
999-1009.
MORTON, J., and A. Carpenter. "Judgement of the Vowel Colour of
Natural and Artificial Sounds." LANGUAGE AND SPEECH, v.
5. pp 190-204.
PLOMP, R., L.C.W. Pols, and J.P. van de Geer. "Dimensional Analysis of
Vowel Spectra." in JASA, v. 41, no. 3, March 1967. pp 707-712.
POLS, L.C.W. "Formant Analysis Versus Factor Analysis of the Vowel
Spectra of 50 Speakers." from 83rd ASA-Meeting, Buffalo, 1972.
VAN DER KAMP, L.J.Th., and L.C.W. Pols. " Perceptual Analysis from
Confusions Between Vowels." in ACTA PSYCHOLOGICA, v.35, 1971.
pp 64-77.
-Percussion Instruments
There are surprisingly few entries discovered here considering the
growing interest of composers in percussion and percussive timbres in
electronic music.
ARTS, Jan. "Jottings from My Experiences with the sound of Bells." in
JASA, v. 17, no. 3, January 1946. pp 231-?.
BRAILSFORD, H.D. "Some Experiments on an Elephant Bell." in JASA, v. 15,
no. 3., January, 1944. pp 180-187.
-Keyboard Instruments
FLETCHER, Harvey, Donnel Blackham, and Richard Stratton. "Quality of
Piano Tones." in JASA, v.34, 1962. pp 749-761.
FLETCHER, H., D. Blackham, and D.A. Christensen. " Quality of Organ Tones."
in JASA, v. 35, no. 3, 1963. pp 314-325.
TIMBRE, SECTION 1V -- PERCEPTION OF TIMBRE
-Larger Works in Timbral Perception
A list of some of the more extensive writings in this psycho-
acoustical topic. It is an indication of the youth of this field
of endeavor that none of the following three entries are published.
GRAY, John M. AN EXPLORATION OF MUSICAL TIMBRE. unpublished Ph.D diss.,
1975. 133 pages.
In part a report on the current state of timbre research, but the
bulk of the dissertation is an original experiment in multidimensional
perception of timbre.
RAHLFS, Volker. PSYCHOMETRISCHE UNTERSUCHUNGEN ZU WARHNEHMUNG
MUSIKALISCHER KLAENGE. unpublished Ph.D diss., Universitaet
Hamburg,1966. 106 pages.
WEBSTER, J.C., PERCEPTION OF COMPLEX SOUNDS, unpublished, 39 pages.
A breakdown of the various elements of sound, including timbre,
as the result of an experiment in sound perception.
-General and Miscellaneous Articles on Timbral Perception
ABEL, Sharon M. "Duration Discrimination of Noise and Tone Bursts." in JASA,
v. 51, no. 4(part2), 1972. pp 1219-1223.
AINSWORTH, W.A. "Duration as a Cue in the Recognition of Synthetic Vowels."
in JASA, v. 51, no. 2(part 2), 1972. pp 648-651.
ALBERSCHEIM, G. ZUR PSYCHOLOGIE DER TON UND KLANGEIGENSCHAFTEN.
Leipzig, 139.
BERGER, Kenneth W., "Some Factors in the Recognition of Timbre", in JASA,
36:10, October 1964, pp 1888-1891.
BRADY, P.T., A.S. House, and K.N. Stevens. "Perception of Sounds
Characterized by a Rapidly Changing Resonant Frequency."
in JASA 33:10, October 1961. pp 1357-1362.
CLARK, Melville, jr., and Paul Millner, "Dependence of Timbre on the
Tonal Loudness Produced by Musical Instruments", in JOURNAL
OF THE AUDIO ENGINEERING SOC., 12:1, Jan. 1964, pp 28-31.
COMBASTET, Michel. "Equivalence Physique du Timbre Sonore et de la
Couleur". in CONFERENCES DES JOURNEES D'ETUDES. Paris, Editions
Radio, 1976. pp 40-54.
GRAY,John M., and John Gordon. PERCEPTUAL EFFECTS OF SPECTRAL MODIFICATIONS
ON MUSICAL TIMBRES. unpublished, 1976. 21 pages.
GRAY, John M., and James A. Moorer. A PERCEPTUAL EVALUATION OF SYNTHETIC
MUSIC INSTRUMENT TONES. unpublished, 1976. 19 pages.
LOEB, E. "Ueber die Subjektive Wirkung von Klangfarbenaederungen." in
AKUSTISCHE ZEITSCHRIFT, v. 6, 1942. pp 279-294.
MARONN, E. "Untersuchungen zur Wahrnehmung sekundaerer Tonqualitaeten
bei ganzahligen Schwingungverhaltnissen." KOELNER BEITRAGE
ZUR MUSIKFORSCHUNG, v. 30, 1964.
PATTERSON, J.H., and D.M. Green. "Discrimination of Transient Signals
Having Identical Energy Spectra." in JASA, v. 48, no. 4 (part 2),
1970. pp 894-905.
PLOMP,R & H.J.M. STEENEKEN. "Place Dependence of Timbre in Reverberant
Sound Fields." in ACUSTICA, v.28, 1973. pp 53-59.
POLS, L.C.W., L.J.Th. van der Kamp and R. Plomp, "Perceptual and Physical
Space of Vowel Sounds." in JASA, v. 46, no.2 (part 2), August 1969.
pp 458-467.
POLS, L.C.W. "Real-Time Recognition of Spoken Words." in IEEE TRANSACTIONS
ON COMPUTERS, v.c-20, no. 9, September 1971. pp 972-978.
POLS, Louis C.W. SEGMENTATION AND RECOGNITION OF MONO-SYLLABIC WORDS.
unpublished paper from the Institute for Perception TNO, Soesterberg,
The Netherlands. 4 pages.
RISSET J.C. "Hauteur et Timbre des Sons." in CONFERENCES DES JOURNEES
D'ETUDES. Paris, Editions Radio, 1976. pp 141-153.
SCHARF, B. "Loudness of Complex Sounds as a Function of the Number of
Components." in JASA, v. 31, no. 6, June 1959. pp 783-785.
SCHOUTEN, J.F. "The Perception of Timbre." from the 6th International
Congress on Acoustics, Tokyo.
SKUDRZYK, E. "Psychoakustische Erscheinungen bei der Bildung von Natuer-
lichen und Synthetischen Klaengen," in GRAVESANER BLAETTER, v. 9,
1957. pp 75-78.
SLAWSON, A. Wayne. "A Psychoacoustic Comparison between Vowel Quality and
Musical Timbre." for the 5th International Congress of Acoustics,
Liege, M66.
SOLOMON, Lawrence N., "Semantic Approach to the Perception of Complex
Sounds." in JASA, v. 30, no. 5, May 1958. pp. 421-425.
VAN DER KAMP, L.J.Th., and L.C.W. Pols, " Perceptual Analysis from
Confusions Between Vowels",in ACTA PSYCHOLOGICA, v.35, 1971.
pp 64-77.
WARREN, Richard M., and Roslyn P. Warren. "Auditory Illusions and Con-
fusions." in SCIENTIFIC AMERICAN, v. 223, no. 6, December 1970.
pp 30-36.
WEBSTER, J.C., and M.M. Woodhead, PERCEPTUAL CONSTANCY IN COMPLEX SOUND
IDENTIFICATION, unpublished, 23 pages.
WEBSTER, J.C., and M.M. Woodhead, "Identifying Meaningless Tonal Complexes",
in JASA, v. 44, no. 2, Jan. 1968. pp 606-609.
-Effect of Phase in Timbral Perception
CRAIG, J.H. and L.A. Jeffress. "Effect of Phase on the Quality of a Two-
Component Tone." in JASA, v. 24, 1962. pp 1752-1760.
CHAPIN, E.K., F.A. Firestone. "The Influence of Phase on Tone Quality
and Loudness; the Interference of Subjective Harmonics. in
JASA, v. 5, no. 1, Jan. 1934. pp 173-180.
FLETCHER, H. "Newer Concepts of Pitch, Loudness, and Timbre of Musical
Tones." in JOURNAL OF FRANKLIN INSTITUTE, v. 220, 1935. pp
209-429.
PLOMP, R., and H.J.M. Steeneken, " Effect of Phase on the Timbre of Complex
Tones." in JASA, v. 46, no. 2 (part 2), August 1969. pp 409-421.
LINDIG, Franz. EINFLUSS DER PHASEN AUF DIE KLANGFARBE. Kiel, Otto Krohn,
1902. 92 pages.
-Dimensionality Perception in Timbre
GRAY, John M. MULTIDIMENSIONAL PERCEPTUAL SCALING OF MUSICAL TIMBRES.
unpublished. 20 pages.
LI, K.-P, G.W. Hughes and A.S. House. "Correlation Characteristics
and Dimensionality of Speech Spectra." in JASA, v. 46, October
1969. pp 1019-1025.
MEYER-EPPLER, W. "Die dreifache Tonherqualitaet." in FESTSCHRIFT SCHMIDT-
GOERG, Bonn, 1957. pp 202-212.
PLOMP, Ranier, "Timbre as a Multidimensional Attribute of Complex
Tones", for Symposium on FREQUENCY ANALYSIS AND PERIODICITY
DETECTION IN HEARING, R. Plomp & F.C Smoorenburg, eds.,
Leiden, A.W. Suithoff, 1970. pp 397-411.
PLOMP, R., L.C.W. Pols, and J.P. van de Geer. "Dimensional Analysis of
Vowel Spectra." in JASA, v. 41, no. 3, March 1967. pp 707-712.
WEDIN, L. and G. Gonde. " Dimension Analysis pf the Perception of
Instrumental Timbre." in SCANDINAVIAN JOURNAL OF PSYCHOLOGY,
v. 13, 1972. pp 228-240.
Speech Synthesis
Atal, B. S., and L. R. Rabiner. "Speech Analysis and Synthesis by Linear
Prediction of the Speech Wave," Journal of the Acoustical Society of
America, 50 (Feb., 1971), 637-655. (JAM).
Atal, B. S., and L. R. Rabiner. "A Pattern Recognition Approach to
Voiced-Unvoiced-Silence Classification with Applications to Speech
Recognition," IEEE Trans. on Acoustics, Speech, and Signal Processing,
Vol. ASSP-24:3 (June 1976), 201-211. (JAM)
David, E. E., Jr., Max V. Mathews, and H. S. McDonald. "A high-speed Data
Translator for Computer Simulation of Speech and Television Devices," in
Proceedings of the I. R. E. Western Joint Computer Conference, 1959.
(Pages 354-357). MM: "... describe[s] some of the first equipment for
computer sound processing. The equipment is obsolete, but the principles
are valid and important."
David, E. E., Jr., Max V. Mathews, and H. S. McDonald. "Description and
Results of Experiments with Speech Using Digital Computer Simulation." in
Proceedings of the 1958 National Electronics Conference. (Pages 766-775).
MM: "... describe[s] some of the first equipment for computer sound
processing. The equipment is obsolete, but the principles are valid and
important."
Denes, P. B., and Max V. Mathews. "Computer models for speech and music
appreciation," in Proceedings of the Fall Joint Computer Conference, 1968.
(Pages 319-327). Overview of speech synthesis, with discussion of
similarity of problems involved in composition algorithm programs.
Bibliography (not collated here)
Flanagan, J. L. Speech analysis, Synthesis and Perception. 2nd Ed., New
York: Springer, 1972. H: "The vade mecum for speech research."
Gold, B., and L. R. Rabiner. "Parallel Processing Techniques for
Estimating Pitch Periods of Speech in the Time Domain." Journal of the
Acoustical Society of America, 46:2 (Aug., 1969), 442-8. (JAM).
Itakura, F., and S. Saito. "Analysis Synthesis Telephony based upon the
Maximum Likelihood Method," in Report of the 6th International Congress on
Acoustics. Edited by Y. Konasi. Tokyo: Report C-5-5, Aug. 21-28, 1968.
(JAM)
Makhoul, J., and J. J. Wolf. Linear Prediction and the Spectral Analysis
of Speech. Cambridge, Mass.: Bolt, Beranek and Newman, Inc., Report No.
2304, Aug., 1972. (JAM).
Makhoul, John. "Linear prediction: A Tutorial Review," Proceedings of
the IEEE, 63:4 (April, 1975), 561-580. (JAM)
Markel, John D., A. H. Gray, Jr., and H. Wakita. Linear Prediction of
Speech -- Theory and Practice. SCRL Monograph No. 10, Sept. l973. (JAM).
Markel, John D., and A. H. Gray, Jr. "A Linear Prediction Vocoder
Simulation Based upon the Autocorrelation Method," IEEE Trans. on
Acoustics, Speech, and Signal Processing. Vol. ASSP-22:2 (April, 1974),
124-134. (JAM)
Markel, John D., and A. H. Gray, Jr. Linear Prediction of Speech. New
York: Springer Verlag, 1976. (JAM)
Moorer, James A. "The Optimum Comb Method of Pitch Period Analysis of
Continuous Digitized Speech," IEEE Transactions on Acoustics, Speech, and
Signal Processing, Vol. ASSP-22:5 (October 1974), 330-338. (JAM).
Oetken, Geerd, Thomas W. Parks, and Hans W. Schuessler. "New Results in
the Design of Digital Interpolators," IEEE Transactions on Acoustics,
Speech, and Signal Processing, Vol. ASSP-23:3 (June 1975), 301-309.
Oppenheim, Alan V. "Speech Analysis-Synthesis System Based on Homomorphic
Filtering," Journal of the Acoustical Society of America, 45:2 (1969),
458-465. (JAM).
Saito, S., and F. Itakura. The Theoretical Consideration of Statistically
Optimum Methods for Speech Spectral Density (in Japanese). Tokyo, Japan:
N.T.T. Elec. Commun. Lab. Rep. No. 3107, 1966. (JAM)
Slawson, A. Wayne. "A Speech-Oriented Synthesizer of Computer Music,"
Journal of Music Theory, 13 (1969), 94-127. (K, No. 553).
Slawson, A. Wayne. "MUSE -- A Sound Synthesizer," in Information
Processing 1962: Proceedings of the IFIP Congress 62. Edited by Cicely M.
Popplewell. Amsterdam: North Holland, 1963. (Pages 451-55). (K, No.
552). K: "Includes abstracts in five languages and a discussion."
General
Ashton, Alan C. "A computer stores, composes, and plays music," Computers
and Automation, 20:12 (Dec., 1971), 43. (K, No. 7).
Carpenter, Allan. "Amazing Uses for Robot Brains," Science Digest, 41:2
(Feb. 1957), 1. (C, No. 199).
Cohen, David. "Computer-Generated Music," Southeastern Composers League
Newsletter, Dec., 1966. (referenced in Schwartz).
"Computer makes music of trumpet sounds." Science News Letter, 39:4
(April 1966), 760. (C, No. 19)
"Computer produces trumpet sounds," Journal of the Acoustical Society of
America, 39:4 (April, 1966), 760. (C, No. 239).
Cony, Ed. "Canny computers -- machines write music, play checkers, tackle
new tasks in industry," Wall Street Journal, 148:56 (Sept. 19, 1956), 1.
(C, No. 244).
Douglas, Alan. "Electrical Synthesis of Music," Electronics and Power, 10
(1964), 83-86. (K, No. 149).
Fowler, Charles B., editor. Music Educators Journal, November, 1968.
According to Howe, a special issue on electronic music.
Hiller, Lejaren A., Jr. "Electronic and Computer Music," St. Louis
Post-Dispatch, (May 7, 1969), 5C. (K, No. 235).
Hiller, Lejaren A., Jr. "These Electrons go around and come out music,"
IRE Student Quarterly, 8 (1961), 1.
Huggins, P. "Three-Part Music with a Computer as One Part," Computers and
Automation, 7:3 (March, 1958), 8. (IL12)
Klein, M. S. "Uncommon uses for common digital computers," Instruments
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MacDonald, Neil. "Music by Automatic Computers," Computers and Automation,
7:3 (March, 1958), 8-9. (IL12) (K, No. 380).
Schwartz, Elliott. Electronic Music: A Listener's Guide. New York:
Praeger, 1973. ML 1092 S399
Includes a chapter on digital synthesis and computer-assisted composition;
includes a bibliography and a discography.
SCRATCH FILE -- to be filed later
* CLARK, Melville,Jr. and David Luce, "Intensities of Orchestral Instrument
Scales Played at Prescribed Dynamic Markings", in JAES, 13:2,
April, 1965, pp 151-157. (2)
KUILE, Th.E. "Einfluss der Phasen auf die Klangfarbe." Arch. ges.
Physiol., v. 89, pp 333-426.
* SCHOUTEN, J.F., R.J. Ritsma, and B. Lopez Cardozo. "Pitch of the Residue."
in JASA, 34:8 (part 2), September 1962. pp 1418-1424. (2)
* GJAEVENES, Kjell, and Erling R. Rimstad, "The Influence of Rise Time on
Loudness JASA, 51:4(pt. 2), 1972, pp 1233-1239. (2)
* SLAYMAKER, Frank H. "Chords from Tones Having Stretched Partials." in
JASA, 47:6 (part 2), 1970. pp 1569-1571. (2)
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buch der norm. und path. Physiologie, v. 2, 1926, pp 563-601.