Information Technology Reference
In-Depth Information
Smith, J. O. III. (1992). Physical modeling using
digital waveguides. Computer Music Journal ,
16 (4), 74-91. doi:10.2307/3680470
Zwicker, E. (1961). Subdivision of the audible
frequency range into critical bands. The Journal
of the Acoustical Society of America , 33 , 248.
doi:10.1121/1.1908630
Subrahmanyan, N., & Lal, B. (1974). A textbook
of sound . Delhi: University of Delhi.
Takala, T., & Hahn, J. (1992). Sound rendering.
Proceedings of SIGGRAPH '92, 26(2), 211-220.
KEY tErMs AND DEFINItIONs
Auditory Scene Analysis: Determining what
is happening in the environment using only the
sense of hearing.
Continuous Parameterisation: A system that
has no discrete control states but is driven by a
set of real numbers.
Deferred Form: A property of something
that only becomes fully defined at the moment
of use. For example, stock market investments
have a deferred value because you don't know
what they will be worth in 20 years.
DSP: Digital signal processing. In our case,
computer code designed to create or modify audio
signals.
Dynamics: A branch of mathematics or physics
concerning the changes occurring within a system.
Dataflow: A programming paradigm based on
flow. Usually with a visual (patching) front-end
in which boxes represent transformations/func-
tions and lines are wires that connect the boxes
together. Examples include Max/MSP, Pure Data,
CPS, Reaktor.
Excitation: The means by which energy
becomes vibration in a sounding object. Often
passing from an outside object to the object that
makes the sound (although self-excitation by in-
ternal stress is possible). Examples are collision,
friction, field and proximity coupling, plucking,
turbulence, and induction.
Finite Difference (Also, First Difference): A
DSP scheme where mathematical differentiation
is represented discretely.
Finite Element: A part in a computational
model in which a continuum is broken down into
small, notionally atomic parts, each with simple
van den Doel, K., & Pai, D. K. (1998). The sounds
of physical shapes. Presence (Cambridge, Mass.) ,
7 (4), 382-395. doi:10.1162/105474698565794
Vicario, G. B. (2001). Prolegomena to the percep-
tual study of sounds . In Polotti, P., Papetti, S.,
Rocchesso, D., & Delle, S. (Eds.), The sounding
object (Sob project) (p. 13). Verona: University
of Verona.
Warren, R. M. (1992). Perception of acoustic se-
quences . In McAdams, (Eds.), Thinking in sound:
The cognitive psychology of human audition. New
York: Clarendon Press . Oxford: University Press.
Wessel, D. L. (1973). Physchoacoustics and music:
A report from Michigan State University. PAGE
Bulletin of the Computers Arts Soc., 30.
Whitmore, G. (2009). The runtime studio in your
console: The inevitable directionality of game
audio. Develop , 94 , 21.
Yee-King, M., & Roth, M. (2008). Synthbot: An
unsupervised software synthesiser programmer.
International Computer Music Conference.
Zheng, C., & James, D. L. (2009). Harmonic flu-
ids. ACM Transaction on Graphics (SIGGRAPH
2009), 28(3).
Zheng, C. & James, D. L. (2010). Rigid-Body
Fracture Sound with Precomputed Soundbanks.
ACM Transaction on Graphics (SIGGRAPH
2010), 29(3).
Search WWH ::




Custom Search