The following books and articles are among the most useful of those I consulted while developing Silence and the ideas behind it.
Daniel Arfib, "Analysis, Transformation, and Resynthesis of Musical
Sounds with the Help of a Time-Frequency Representation," in
Giovanni De Poli, Aldo Piccialli, and Curtis Roads (editors), Representations
of Musical Signals. Cambridge, Massachusetts:
The MIT Press, 1991, pages 87-118.
An overview of time-frequency signal transforms, especially the Gabor
transform, as representations of musical sound.
Time-frequency transforms provide the theoretical basis for granular synthesis
and other time-frequency signal processing
algorithms.
Michael Barnsley, Fractals Everywhere, Second Edition. Boston: Academic Press, 1993 [1988].
Textbook on fractal geometry that provides a unified mathematical treatment
of iterated function systems, Julia and Mandelbrot
sets, and fractals. Invaluable resource for the geometric approach to algorithmic
composition.
Martin J. Bastiaans, "Gabor's Expansion of a Signal into Gaussian
Elementary Signals," Proceedings of the IEEE, Volume
68,
Number 4, pages 538-539, April 1980.
Christian Braut. The Musician's Guide to MIDI. Paris: Sybex, 1994.
An exhaustive consideration of the current state of the MIDI standard, with sample code and extensive tables. Marred by some typos, but get it if you plan to do any MIDI programming.
Jim Conger. Midi Sequencing in C. Redwood City, California: M & T Books, 1989.
Portions of the code for reading and writing MIDI files in Silence are based on ideas in this book.
Michael Cziesperger. ôIntroducing Standard MIDI Files,ö Electronic Musician, volume 5, number 4, April 1989, pp. 49 ff.
Giovanni De Poli, Aldo Piccialli, and Curtis Roads (editors). Representations
of Musical Signals. Cambridge, Massachusetts: The
MIT Press, 1991.
Important technical reference to alternative representations of musical
sound, not limited to digitized waveforms or the Fourier
transform.
Giovanni De Poli and Aldo Piccialli, "Pitch-Synchronous Granular
Synthesis," in Giovanni De Poli, Aldo Piccialli, and Curtis Roads
(editors), Representations of Musical Signals. Cambridge,
Massachusetts: The MIT Press, 1991, pages 187-219.
Charles Dodge and Thomas A. Jerse. Computer Music: Synthesis,
Composition, and Performance. New York: Schirmer Books,
1985.
A standard reference in the field, with illuminating discussions of
classic software instruments for which there exist CSound
implementations on various anonymous FTP sites.
Paul M. Embree and Bruce Kimble. C Language Algorithms for Digital
Signal Processing. Englewood Cliffs, New Jersey:
Prentice-Hall, 1991.
James D. Foley, Andries van Dam, Steven K. Feiner, and John F. Hughes.
Computer Graphics: Principles and Practice, Second
Edition. Reading, Massachusetts: Addison-Wesley Publishing Company, 1991
[1990].
Standard text in the field of computer graphics. The matrix representation
of note space is based on concepts expounded in this
book for the purposes of image manipulation and three-dimensional rendering
in computer graphics. The color model for note
space is also based on ideas in this book.
Allen Forte. The Structure of Atonal Music. New Haven: Yale University Press, 1973.
Explains the hierarchy of pitch relationships in atonal music.
D. Gabor, "Theory of Communication," The Journal of
the Institution of Electrical Engineers, Part III, Volume 93, pages
429-457,
1946.
The original article setting forth the time-frequency representation of sound.
D. Gabor, "New Possibilities in Speech Transmission," The
Journal of the Institution of Electrical Engineers, Part III, Volume
94,
Number 32, pages 369-387, November 1947.
D. Gabor, "Acoustical Quanta and the Theory of Hearing," Nature, Volume 159, Number 1044, pages 591-594, May 3, 1947.
Discusses experimental measurements of human hearing and their relevance for the time-frequency representation of sound.
David Thomas Graves. ôThe Use of Mathematics in Selected Aspects of
Musicö, Ph.D. dissertation, The Union for Experimenting
Colleges and Universities, 1981.
Useful compendium of references for mathematical analysis of tuning systems and serial music.
Frode Holm, "Understanding FM implementation: A Call for Common
Standards," Computer Music Journal, Volume 16, Number
1,
Spring 1992, pages 34-42.
John-Philipp Gather. Amsterdam Catalog of Csound Computer Instruments 1.1. John-Philipp Gather, 1995.
An extremely useful compendium of working Csound implementations of classical computer music instrument designs.
Hubert S. Howe, Jr. Electronic Music Synthesis: Concepts, Facilities, Techniques. New York: W.W. Norton & Co., 1975.
Benoit Mandelbrot. The Fractal Geometry of Nature (Updated
and Augmented). New York: W. H. Freeman and Company, 1983
[1977].
Seminal work on fractals in many fields of science and art.
Max V. Mathews, with Joan E. Miller, F.R. Moore, J.R. Pierce and J.C. Risset. The Technology of Computer Music. Cambridge, Massachusetts: The MIT Press, 1969.
Clearly outlines the author's ground-breaking basic engineering for digital sound synthesis, now taken for granted by most software sound synthesis systems.
Stephen N. Matsuba and Bernie Roehl. Special Edition: Using VRML. Indianapolis: Que, 1996.
There is a considerable similarity in underlying philosophy and mathematical application between Virtual Reality Modeling Language and the LinMus language. I also consulted this book to learn how to render Silence scores in 3 dimensions using VRML.
Microsoft Corporation. Microsoft Windows Multimedia ProgrammerÆs Reference. Redmond, Washington: Microsoft Press, 1991.
F. Richard Moore, Elements of Computer Music. Englewood Cliffs, New Jersey, 1990.
A standard reference for software synthesis and signal processing. The
plucked string instrument in Silence is based on ideas
in this book. The serial and parallel modulation design for the frequency
modulation instrument in Silence is based on ideas in
this book.
Heinz-Otto Peitgen and Dietmar Saupe, editors. The Science of Fractal Images. New York: Springer-Verlag, 1988.
Sample code for Lindenmayer systems, iterated function systems, and Julia and Mandelbrot sets.
Heinz-Otto Peitgen, Hartmut Jürgens, and Dietmar Saupe. Chaos
and Fractals: New Frontiers of Science. New York:
Springer-Verlag, 1992.
A useful text with sample code for realizing a wide variety of fractals.
Provides a unifying metaphor for fractal algorithms in the
form of the ômultiple reduction copying machine.ö
John R. Pierce. The Science of Musical Sound, Revised Edition. New York: W. H Freeman and Company, 1992 [1983].
An introduction to musical hearing and musical acoustics.
William H. Press, Saul A. Teukolsky, William T. Vetterling, and Brian
P. Flannery, Numerical Recipes in C: The Art of Scientific
Computing, Second Edition. Cambridge: The Cambridge University
Press, 1992 [1988].
Przemyslaw Prusinkiewicz and Aristid Lindenmayer. The Algorithmic Beauty of Plants. New York: Springer-Verlag, 1990.
An important, indeed inspiring, use of formal methods in botany. The
Lindenmayer system grammer in Silence is based on
concepts developed in this book.
John Rahn. Basic Atonal Theory. New York: Schirmer Books, 1980.
A very clear introduction to what one hears, and why, in atonally composed music.
Christopher E. Reid and Thomas B. Passin, Signal Processing in C. New York: John Wiley & Sons, Inc., 1992.
Curtis Roads and John Strawn, editors. Foundations of Computer Music. Cambridge, Massachusetts: The MIT Press, 1988 [1985].
Reproduces seminal articles in the field.
Curtis Roads, editor, The Music Machine: Selected Readings from
Computer Music Journal. Cambridge, Massachusetts: The MIT
Press, 1989.
Curtis Roads with John Strawn, Curtis Abbott, John Gordon, and Philip Greenspun. The Computer Music Tutorial. Cambridge, Massachusetts: The MIT Press, 1996.
Currently the best one-volume introduction to computer music.
Barry Vercoe. ôCSound: A Manual for the Audio Processing System and
Supporting Programs with Tutorials.ö Cambridge,
Massachusetts: Media Lab, MIT, January 1, 1984.
The userÆs guide and reference manual for CSound. The one-pass mixing
algorithm in Silence is based on ideas found in
CSound.
Stan Wagon. Mathematica in Action. New York: W. H. Freeman and Company, 1991.
Unusually clear book on Mathematica programming that provides sample
programs which can be adapted for musical
composition.
Tim Wegner and Bert Tyler. Fractal Creations, Second Edition. Corte Madera, 1993.
Documents FRACTINT and provides many sample fractals, and some simplified explanations of the underlying mathematics.
Trevor Wishart. Audible Design: A Plain and Easy Introduction to Practical Sound Composition. York: Orpheus the Pantomime, 1994.
Interesting discussion of compositional techniques for sound considered as such.
Phil Winsor and Gene DeLisa, Computer Music in C. Blue Ridge Summit, Pennsylvania: Windcrest Books, 1991.
Stephen Wolfram. The Mathematica Book, Third Edition..
Reading, Massachusetts:
Wolfram Media, 1996 [1988].
The primary reference for Mathematica.
Wolfram Research, ôMathLink Reference Guide, Mathematica Version 2.2ö, Mathematica Technical Report, 1993.
Iannis Xenakis. Formalized Music: Thoughts and Mathematics in
Music, Revised Edition. Additional material compiled and edited
by Sharon Kanach. Harmonologia Series No. 6. Stuyvesant, New York: Pendragon
Press, 1992.
Great book which intellectually grounds the formal, mathematical approach
to musical composition. Highly relevant to algorithmic
composition and granular synthesis.