I have been interested in writing software to syn-thesize electronic music ever since I was in high school. SuperCollider came about as the latest in a series of software synthesis languages that I have written over the years. All of these efforts have resulted in more features, better documen-tation, and a more complete, robust, and bugfree program. Many people have stepped up and volunteered to undertake tasks of docu-mentation, porting to other operating systems, interfacing to hardware and soft-ware, writing new unit generators, extending the class library, maintaining a Web site, mailing lists, and a wiki, xing bugs, and, nally, writing and editing the chap-ters of this book. Since I made SuperCollider open source, it has taken on a life of its own and become a community-sustained project as opposed to being a project sustained by a single author. Thus, I am pleased that there will now be a book on SuperCollider, and the best part of it for me is that I have not had to do much of the hard work to get it done. There were too many possible approaches and applications. Because of this open-endedness, early on, I often felt it difcult to know how best to write the documenta-tion. It has also been used as a vehicle for live coding and networked performances.
With SuperCollider, one can create many things: very long or innitely long pieces, innite variations of structure or surface detail, algorithmic mass production of synthesis voices, sonica-tion of empirical data or mathematical formulas, to name a few. You can build a library of classes and functions that become building blocks for your w orking style and in this way make a customized working environment. SuperCollider is very good at allowing one to create nice sounds with m inimal effort, but more important, it allows one to represent musical concepts as objects, to transform them via functions or methods, to compose transformations into higher-level building blocks, and to design interactions for manipulating music in real time, from the top-level structure of a piece down to the level of the waveform. It is a language for describing sound pro-cesses. SuperCollider, though, has the unique combination of being free, well supported, and designed for real time. These all demonstrate very interesting work in this area and are worth look-ing into. Why use a computer programming language for composing music? Specically, why use SuperCollider? There are several very high-level language environments for a udio besides SuperCollider, such as Common Music, Kyma, Nyquist, and Patch-work. Julian Rohrhuber, Tom Hall, and Alberto de CampoĢ4 The SuperCollider Language Implementation 659Stefan KerstenĢ5 Writing Unit Generator Plug-ins 691Dan StowellĪppendix: Syntax of the SuperCollider Language 741Iannis ZannosSubject Index 745Code Index 751 Takeko Akamatsu23 Dialects, Constraints, and Systems within Systems 635 Thor Magnusson22 SuperCollider in Japan 629 James Harkins21 Interface Investigations 613 Baalman and Scott Wilsonġ5 Machine Listening in SuperCollider 439Nick Collinsġ7 Alternative Tunings with SuperCollider 505Fabrice Moginiġ8 Non-Real-Time Synthesis and Object-Oriented Composition 537Brian Willkie and Joshua Parmenterġ9 A Binaural Simulation of Varses Pome lectronique 575Stefan Kersten, Vincenzo Lombardo, Fabrizio Nunnari, and Andrea ValleĢ0 High-Level Structures for Live Performance: dewdrop_lib and chucklib 589 Baalmanġ3 Sonication and Auditory Display in SuperCollider 381Alberto de Campo, Julian Rohrhuber, Till Bovermann, and Christopher Frauenbergerġ4 Spatialization with SuperCollider 409Marije A.
Baalman, and Till Bovermannĥ Programming in SuperCollider 127Iannis Zannosħ Just-in-Time Programming 207Julian Rohrhuber and Alberto de CampoĨ Object Modeling 237Alberto de Campo, Julian Rohrhuber, and Till Bovermannĩ Mac OSX GUI 273Jan Trtzschler von Falkensteinġ1 SuperCollider on Windows 339Christopher Frauenbergerġ2 Collision with the Penguin: SuperCollider on Linux 355Stefan Kersten and Marije A. Edited by Scott Wilson, David Cottle, and Nick Collinsįoreword ixJames McCartneyIntroduction xiiiScott Wilson, David Cottle, and Nick Collinsģ Composition with SuperCollider 81Scott Wilson and Julio dEscrivnĤ Ins and Outs: SuperCollider and External Devices 105Stefan Kersten, Marije A.
0 kommentar(er)
