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Interactivation
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Multimedia for Cultural Heritage
This book constitutes the revised selected papers from the First International Workshop on Multimedia for Cultural Heritage, MM4CH 2011, held in Modena, Italy, on May 3, 2011. The 8 full papers and 9 poster papers included in this volume were carefully reviewed and selected from 25 submissions. In addition, the book contains a paper resuming the outcome of the discussion session. The workshop aimed on creating a profitable informal working day to discuss hot topics in multimedia, with special application to cultural heritage. The papers of the oral session are divided in topical sections named interaction and analysis and management.
Late Nineteenth-Century Italy in Africa
“Civilizing Africa” – bringing European institutions and society to Africa – was a common rationale for nineteenth-century European expansions into that continent. However, in March 1891 a news correspondent accused officials in Italy’s Red Sea colony of having ordered, without trial, the secret and brutal killing of certain indigenous notables. A scandal erupted because the news contradicted civilizing expectations, portraying Italians rather than Africans as the barbarians. The press drove a public debate over the accusations, but the debate ultimately led to an unanticipated reversal: public acceptance of the killings, because most Italians no longer considered European standard...
The Computer Music Tutorial, second edition
Expanded, updated, and fully revised—the definitive introduction to electronic music is ready for new generations of students. Essential and state-of-the-art, The Computer Music Tutorial, second edition is a singular text that introduces computer and electronic music, explains its motivations, and puts topics into context. Curtis Roads’s step-by-step presentation orients musicians, engineers, scientists, and anyone else new to computer and electronic music. The new edition continues to be the definitive tutorial on all aspects of computer music, including digital audio, signal processing, musical input devices, performance software, editing systems, algorithmic composition, MIDI, and psy...
The Sounding Object
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Composing Electronic Music
Electronic music evokes new sensations, feelings, and thoughts in both composers and listeners. Composing Electronic Music outlines a new theory based on the powerful toolkit of electronic music techniques.
Between the Tracks
A collection that goes beyond the canon to analyze influential yet under-examined works of electronic music. This collection of writings on electronic music goes outside the canon to analyze influential works by under-recognized musicians. The contributors, many of whom are composers and performers themselves, offer their unsung musical heroes the sort of in-depth examinations usually reserved for more well-known composers and works. They analyze music from around the world and across genders, race, nationality, and age, discussing works that range from soundscapes of rushing water and resonating pipes to compositions by algorithm. Subjects include the collaboration of performer and composer...
Musical Robots and Interactive Multimodal Systems
Musical robotics is a multi- and trans-disciplinary research area involving a wide range of different domains that contribute to its development, including: computer science, multimodal interfaces and processing, artificial intelligence, electronics, robotics, mechatronics and more. A musical robot requires many different complex systems to work together; integrating musical representation, techniques, expressions, detailed analysis and controls, for both playing and listening. The development of interactive multimodal systems provides advancements which enable enhanced human-machine interaction and novel possibilities for embodied robotic platforms. This volume is focused on this highly exc...
Philosophical Considerations on Contemporary Music
The musical universe of the 20th and 21st centuries is a force-field in which styles, instruments, personalities and stories can be found that are ascribable to conceptual frameworks that may differ greatly one from another. Such complexity cannot be traced back to single theories or all-encompassing interpretations, but may be tackled, philosophically, starting from certain characteristics. This book identifies nine such characteristics: namely, Extremes, Noise, Silence, Technology, Audience, Listening, Freedom, Disintegration, and New Media. Each of these permits us to open up unforeseen philosophical-cultural paths and interpret, in its multifarious variety, the developments of contemporary music, profoundly interwoven with the history of thought, culture and society.
