The Computer as a Performing Instrument

Please use this identifier to cite or link to this item: http://dspace.mediu.edu.my:8181/xmlui/handle/1721.1/6187

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DC Field	Value	Language
dc.creator	Mumma, Gordon	-
dc.creator	Smoliar, Stephen	-
dc.date	2004-10-04T14:44:37Z	-
dc.date	2004-10-04T14:44:37Z	-
dc.date	1971-02-01	-
dc.date.accessioned	2013-10-09T02:43:51Z	-
dc.date.available	2013-10-09T02:43:51Z	-
dc.date.issued	2013-10-09	-
dc.identifier	AIM-213	-
dc.identifier	http://hdl.handle.net/1721.1/6187	-
dc.identifier.uri	http://koha.mediu.edu.my:8181/xmlui/handle/1721	-
dc.description	This memo was originally presented as a Project MAC seminar on February 20, 1970. From the outset, the computer has established two potential roles in the musical arts--the one as a sound synthesizer and the other as a composer (or composer's assistant). The most important developments in synthesis have been due to MAX Matthew at the Bell telephone Laboratories [7]. His music V system endows a computer with most of the capabilities of the standard hardware of electronic music. Its primary advantage is that the user may specify arbitrarily complex sound sequences and achieve then with a minimum of editing effort. Its primary disadvantage is that it is not on-line, so that the user loses that critical sense of immediacy which he, as a composer, may deem valuable.	-
dc.format	4502159 bytes	-
dc.format	373376 bytes	-
dc.format	application/postscript	-
dc.format	application/pdf	-
dc.language	en_US	-
dc.relation	AIM-213	-
dc.title	The Computer as a Performing Instrument	-
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