Interactive computer music systems and concepts of Gestalt

1997 ◽  
pp. 482-494
Author(s):  
Paul Modler
Keyword(s):  
Computer Music

A Musical Technography of John Bischoff

2004 ◽  
Vol 14 ◽  
pp. 75-79
Author(s):  
Douglas Kahn
Keyword(s):  
San Francisco ◽  
Early Development ◽  
Computer Music ◽  
Turning Point ◽  
San Francisco Bay Area ◽  
Experimental Music ◽  
Music Technology ◽  
Electronic Components ◽  
Bay Area ◽  
The Impact

John Bischoff has been part of the formation and growth of electronic and computer music in the San Francisco Bay Area for over three decades. In an interview with the author, he describes his early development as a student of experimental music technology, including the impact of hearing and assisting in the work of David Tudor. Bischoff, like Tudor, explored the unpredictable potentials within electronic components, and he brought this curiosity to bear when he began working on one of the first available micro-computers. He was a key individual at the historical turning point when computer music escaped its institutional restric-tions and began becoming widespread.

Computer Music from the outside in

1984 ◽  
Vol 8 (3) ◽  
pp. 84
Author(s):  
Stephan Kaske ◽  
McLean ◽  
Korte ◽  
Holmes
Keyword(s):  
Computer Music

Computer Music: Synthesis, Composition, and Performance

Notes ◽  
1986 ◽  
Vol 43 (1) ◽  
pp. 53
Author(s):  
R. K. ◽  
Charles Dodge ◽  
Thomas A. Jerse
Keyword(s):  
Computer Music ◽  
Music Synthesis ◽  
And Performance ◽  
Synthesis Composition

scholarly journals The dynamics of computer music

1996 ◽  
Vol 1 (1) ◽  
pp. 1-2
Keyword(s):  
Computer Music ◽  
Special Kind ◽  
Edgard Varese ◽  
Life Long Learning ◽  
Technological Advances ◽  
Educative Process ◽  
Musical Creativity ◽  
Definition Of ◽  
Embedded Intelligence

'Organised sound' - the term coined by Edgard Varèse for a new definition of musical constructivism - denotes for our increasingly technologically dominated culture an urge towards the recognition of the human impulse behind the 'system'. Such is the diversity of activity in today's computer music, we need to maintain a balance between technological advances and musically creative and scholarly endeavour, at all levels of an essentially educative process. The model of 'life-long learning' makes a special kind of sense when we can explore our musical creativity in partnership with the computer, a machine now capable of sophisticated response from a humanly embedded intelligence.

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