دانلود کتاب Sonic Writing: Technologies of Material, Symbolic, and Signal Inscriptions

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Cover page\nHalftitle page\nTitle page\nCopyright page\nContents\nFigures\nPreface\nAcknowledgements\nIntroduction: On Objects, Humans, and Machines\n The non-origins of music\n Mnemotechnics and music\n Three music technological epistemes\n Unstable objects\n Ergodynamics\n Book structure\nPart I Material Inscriptions\n 1 Instrumentality\n Musical organa\n Instruments in myth and philosophy\n Instruments in medieval thought\n Instruments of modernity\n Instrumental materialities\n Conclusion\n 2 New Instruments\n Instruments and alien objects\n Interfacing sound\n The Karlax\n The LinnStrument\n Resonating acoustic instruments\n Digital affordances\n Instrument or controller?\n Conclusion\n 3 Epistemic Tools\n Instruments for thinking\n Theoretical instruments\n Instrumental agency\n Epistemic tools\n Material affordances\n Conclusion\n 4 Digital Organology\n Evolutionary organology\n Musical organics\n New instruments, new ideas, new instruments\n Conclusion\nPart II Symbolic Inscriptions\n 5 Writing Music\n On writing\n On the possibility of writing sound\n Symbols notating music\n Guido of Arezzo\n Mnemonics and notation\n Conclusion\n 6 Printing Music\n The printing press\n Musica poetica\n Music as (re)search\n The musical work\n Conclusion\n 7 New Languages\n Descriptive and prescriptive notation\n Notating for (human) machines\n Open notations\n Graphic scores\n Multimedia notation\n Rules and process\n Improvisation and the aleatoric\n The cost of freedom\n Conclusion\n 8 Machine Notation\n Algorithmic music\n Combinatorics and creativity\n Compose a system and run it\n Generative music\n Musicology of code and systems\n Modular systems\n Conclusion\nPart III Signal Inscriptions\n 9 Inscribing Sound\n Notating what?\n Mechanical writing\n Sonic pens\n The phonograph\n Crossing the epistemic gap\n Conclusion\n 10 Recording\n The seeds of an industry\n Phonography as production method\n Critical studies of the phonograph\n Writing sound\n Sound as compositional material\n Real or synthetic sound?\n Phonographic writing as the condition of jazz\n Ontology of the recorded work\n Conclusion\n 11 Analysing\n Interpreting signals\n Objective notation with the Melograph\n Analysis of music through visual means\n The notational quality of the sonic spectrum\n Instruments for seeing sound\n Conclusion\n 12 Machine Listening\n What to listen for?\n Machine listening\n Cutting sound up into databases\n Conclusion\nPart IV Digital Writing\n 13 Transductions\n Wherein lies knowledge?\n Instruments as media and objects of resistance\n Embodied musial gestures\n Ergomimetics\n Ergomimetic interfaces\n Conclusion\n 14 New Notations\n Writing on fluid formats\n A piece or an instrument?\n Music as invention\n Semiotics of notation for new instruments\n Composing for digital instruments\n New notations\n Live coding\n Characteristics of postlinear work\n Conclusion\n 15 Machine Writing\n Transforming rules\n Machine as a human extension\n Generative music\n A form without a format\n Systematic musicology of systems\n Composers as programmers\n User-generated music\n Deep learning in music\n Conclusion\n 16 Music in Multimedia\n Computational thinking in multimedia\n The invention is the work\n New platforms for invention\n Music in other realities\n Sound art as music\n Conclusion\nPart V Conclusion\n 17 A Future of Music Tech\n The system of the crowd\n Industry developments: a case study\n Shift ing models, but who shifts?\n Conclusion\n 18 Transformation of Tradition\n Where is the new stuff?\n From consumption to production\n Composition and system\n Conclusion\n 19 New Education for New Music\n New terms for new practices\n Music education in the future\n How to teach invention?\n Conclusion\nNotes\nBibliography\nIndex