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A BRİEF HİSTORY OF COMPUTER MUSİC LANGUAGES

Yıl 2015, Sayı: 6, 47 - 59, 25.08.2015

Mehmet Can Özer

Öz

Computer music is an interdisciplinary field which had arisenin last 65 years with the

advances of computer technologies. While it was an experimental research field in

the telecommunications, then has become a popular genre in contemporary art.

Those deveopments can be traced with the advances of computer music languages.

Computers has changed the rules of making and listening to music in both

contemporary and popular culture. The term of computer music, which is a branch

of electronic music in particular and a genre in contemporary music, has been

formed towards the advances in those languages.

Anahtar Kelimeler

Computer music computer music languages electronic music digital art contemporary art sound synthesis digital signal processing.

Kaynakça

  • ABBOTT, C. (1978).“A Software Approach to Interactive Processing of Musical Sound”, Computer Music Journal, Vol. 2, No. 1, ss. 19-23, USA: The MIT Press.
  • ASSAYAG, G. (1999).“Computer Assisted Composition at IRCAM: From PatchWork to Open Music”, Computer Music Journal, Vol. 23/3, USA: The MIT Press.
  • BASSETT, Ross Knox (2007).“To the Digital Age”, ss. 48, JHU Press.
  • BYRD, Donald (1977). “An Integrated Computer Music Software System”, Computer Music Journal, Vol. 1, No. 2, ss. 55-60, USA: The MIT Press.
  • BANKS, J.D. Berg, P., Rowe, R., Theriault, D. (1979). “SSP. A Bi-Parametric Approach to Sound Synthesis”, Institute of Sonology, Utrecht.
  • CHION, Michel (1982). La musique electroacoustique, Fransa : Presses Universitaires de France.
  • DANNENBERG, Roger B. (1997). “The Implementation of Nyquist, A Sound Synthesis Language”, Computer Music Journal, Vol. 21, No. 3, ss. 71-82, USA: The MIT Press.
  • DOOMBUSCH, Paul (2004). “Computer Sound Synthesis in 1951: The Music of CSIRAC”, Computer Music Journal, Vol. 28, No. 1, ss. 10-25, USA: The MIT Press.
  • FAVREAU, E. (1986). “Software Developments for the 4X Real-Time System”, Proceedings of the International Computer Music Conference, ss. 369-373, San Francisco: Computer Music Association.
  • FUCHS, Mathias (1988). “Computer Music Languages... And the Real World”, Leonardo Supplemental Issue, Vol. 1, Electronic Art , ss. 39-42, USA: The MIT Press.
  • GRESHAM, L. (1998). “The Aesthetics and History of the Hub: The Effects of Changing Technology on Network Computer Music”, Leonardo Music Journal, Vol. 8, ss. 39-44.
  • JOHNSTON, W. M., Hanna, J. R. P., Millar, R. J. (2004). “Dataflow Programming Paradigm, Advances in Dataflow Programming Languages”, ACM Computing Surveys, 36, ss. 1-34.
  • KING, Jerry (1997). Matematik Sanatı, Ankara: Tübitak Yayınları.
  • LAURSON, M., Norilo V., Kuuskankare, M. (2005). “PWGLSynth: A Visual Synthesis Language for Virtual Instrument Design and Control”, Computer Music Journal, Vol. 29, No. 3, ss. 29-41, USA: The MIT Press.
  • LASKE, Otto (1984). “Definitions of Computer Art”, Computer Music Journal, Vol. 8, No. 4, ss. 9-11, USA: The MIT Press.
  • LENT, Keith, Pinkston, Russell, Silsbee, Peter, (1989). “Accelerando: A Real-Time, General Purpose Computer Music System”, Computer Music Journal, Vol. 13, No. 4, ss. 54-64, USA: The MIT Press.
  • LINDERMANN, E. (1991). “The Architecture of the IRCAM Musical Workstation”, Computer Music Journal, Vol. 15, ss. 41-50, USA: The MIT Press.
  • LIPPE, Cort (1996). “Real-Time Interactive Digital Signal Processing: A View of Computer Music Source”, Computer Music Journal, Vol. 20, No. 4, ss. 21-24, USA: The MIT Press.
  • LOY, Gareth. (2002). “The CARL System: Premises, History, and Fate”, Computer Music Journal, Vol. 26, No. 4, Languages and Environments for Computer Music, ss. 52-60, USA: The MIT Press.
  • MANNING, Peter (1981). “Computers and Music Composition”, Proceedings of the Royal Musical Association, Vol. 107, ss. 119-131, Taylor & Francis Ltd.
  • MATHEWS, M., Pasquale J. (1981). “RTSKED a Scheduled Performance Language for the Crumar General Development System”, Proceedings of the International Computer Music Conference, s. 286, San
  • Francisco: Computer Music Association.
  • MATHEWS, Max (1978). Computer Music Journal, Issue 1978/4, s. 32, USA
  • MCCARTNEY, James, (2002), “Rethinking the Computer Music Language: Super Collider”, Computer Music Journal, Vol. 26, No. 4, ss. 61-68, Languages and Environments for Computer Music, USA.
  • MOORE, F. Richard (1996). “Dreams of Computer Music: Then and Now”, Computer Music Journal, Vol. 20, No. 1, ss. 25-41, USA: The MIT Press.
  • OPCODE, Inc. (1990). MAX Documentation, Palo Alto, California: Opcode, Inc.
  • ORLAREY Y., Fober, D., Grame, S. L. (2002). “An Algebra for Block Diagram Languages”.
  • PICHEJ., Burton A. (1998). “Cecilia: A Production Interface to Csound”, Computer Music Journal, Vol. 22, No. 2, ss. 52-55, USA: The MIT Press.
  • PUCKETTE, Miller, (1988). “The Patcher”, Proceedings of the International Computer Music Conference, ss. 420- 425, San Francisco: Computer Music Association.
  • PUCKETTE, Miller (1991). “Combining Event and Signal Processing in the MAX Graphical Programming Environment”, Computer Music Journal, Vol. 15, No. 3, ss. 68-77, USA: The MIT Press.
  • RODET, X., Potard Y., Barrière, Jean-Baptiste, (1984). “The CHANT Project: From the Synthesis of the Singing Voice to Synthesis”, Computer Music Journal, Vol. 8, No. 3, ss. 15-31, USA: The MIT Press.
  • SCHRADER, Barry (1982). Introduction to Electroacoustic Music, Prentice Hall.
  • Bilgisayar Müziği Dillerinin Tarihçesi 59
  • SERWER, J. D. (1994). “Nam June Paik: Technology”, American Art, Vol. 8, No. 2, ss. 87-91, The University of Chicago Press.
  • SORENSEN, A. (2005). “Impromptu: An interactive programming environment for composition and performance”.
  • TAUBE, Heinrich. (1991), “Common Music: A Music Composition Language in Common Lisp and CLOS”, Computer Music Journal, Vol. 15, No. 2, ss. 21-32, USA: The MIT Press.
  • TRUAX, Barry (1977). “The POD System of Interactive Composition Programs”, Computer Music Journal, Vol. 1, No. 3, ss. 30-39, USA: The MIT Press.
  • USSACHEVSKY, Vladimir (1958). “Music in the Tape Medium”, The Julliard Review.
  • VERCOE, B. (1986). “CSOUND: A Manual for the Audio Processing System and Supporting Programs”, Program Documentation. MIT Media Lab., Cambridge: Massachusetts.
  • WANG, G., Cook, P. R. (2003). “ChucK: A Concurrent, On-the-fly, Audio Programming Language”, Proceedings of the 2003 International Computer Music Conference.
  • İnternet Kaynakları
  • Bilişim Sözlüğü, (2014). www.bilisimsozlugu.net, (erişim tarihi 16 Nisan 2014).
  • Cycling74.com, (2014). Max, a visual programming language for media (erişim tarihi 22 Ağustos 2014).
  • DuBois, Luke (1993). “A Brief and Largely Vague History of Cmix”, http://music.columbia.edu/cmix/history.html, (Erişim Tarihi 22.02.2014).

BİLGİSAYAR MÜZİĞİ DİLLERİNİN TARİHÇESİ

Yıl 2015, Sayı: 6, 47 - 59, 25.08.2015

Mehmet Can Özer

Öz

Kaynakça

  • ABBOTT, C. (1978).“A Software Approach to Interactive Processing of Musical Sound”, Computer Music Journal, Vol. 2, No. 1, ss. 19-23, USA: The MIT Press.
  • ASSAYAG, G. (1999).“Computer Assisted Composition at IRCAM: From PatchWork to Open Music”, Computer Music Journal, Vol. 23/3, USA: The MIT Press.
  • BASSETT, Ross Knox (2007).“To the Digital Age”, ss. 48, JHU Press.
  • BYRD, Donald (1977). “An Integrated Computer Music Software System”, Computer Music Journal, Vol. 1, No. 2, ss. 55-60, USA: The MIT Press.
  • BANKS, J.D. Berg, P., Rowe, R., Theriault, D. (1979). “SSP. A Bi-Parametric Approach to Sound Synthesis”, Institute of Sonology, Utrecht.
  • CHION, Michel (1982). La musique electroacoustique, Fransa : Presses Universitaires de France.
  • DANNENBERG, Roger B. (1997). “The Implementation of Nyquist, A Sound Synthesis Language”, Computer Music Journal, Vol. 21, No. 3, ss. 71-82, USA: The MIT Press.
  • DOOMBUSCH, Paul (2004). “Computer Sound Synthesis in 1951: The Music of CSIRAC”, Computer Music Journal, Vol. 28, No. 1, ss. 10-25, USA: The MIT Press.
  • FAVREAU, E. (1986). “Software Developments for the 4X Real-Time System”, Proceedings of the International Computer Music Conference, ss. 369-373, San Francisco: Computer Music Association.
  • FUCHS, Mathias (1988). “Computer Music Languages... And the Real World”, Leonardo Supplemental Issue, Vol. 1, Electronic Art , ss. 39-42, USA: The MIT Press.
  • GRESHAM, L. (1998). “The Aesthetics and History of the Hub: The Effects of Changing Technology on Network Computer Music”, Leonardo Music Journal, Vol. 8, ss. 39-44.
  • JOHNSTON, W. M., Hanna, J. R. P., Millar, R. J. (2004). “Dataflow Programming Paradigm, Advances in Dataflow Programming Languages”, ACM Computing Surveys, 36, ss. 1-34.
  • KING, Jerry (1997). Matematik Sanatı, Ankara: Tübitak Yayınları.
  • LAURSON, M., Norilo V., Kuuskankare, M. (2005). “PWGLSynth: A Visual Synthesis Language for Virtual Instrument Design and Control”, Computer Music Journal, Vol. 29, No. 3, ss. 29-41, USA: The MIT Press.
  • LASKE, Otto (1984). “Definitions of Computer Art”, Computer Music Journal, Vol. 8, No. 4, ss. 9-11, USA: The MIT Press.
  • LENT, Keith, Pinkston, Russell, Silsbee, Peter, (1989). “Accelerando: A Real-Time, General Purpose Computer Music System”, Computer Music Journal, Vol. 13, No. 4, ss. 54-64, USA: The MIT Press.
  • LINDERMANN, E. (1991). “The Architecture of the IRCAM Musical Workstation”, Computer Music Journal, Vol. 15, ss. 41-50, USA: The MIT Press.
  • LIPPE, Cort (1996). “Real-Time Interactive Digital Signal Processing: A View of Computer Music Source”, Computer Music Journal, Vol. 20, No. 4, ss. 21-24, USA: The MIT Press.
  • LOY, Gareth. (2002). “The CARL System: Premises, History, and Fate”, Computer Music Journal, Vol. 26, No. 4, Languages and Environments for Computer Music, ss. 52-60, USA: The MIT Press.
  • MANNING, Peter (1981). “Computers and Music Composition”, Proceedings of the Royal Musical Association, Vol. 107, ss. 119-131, Taylor & Francis Ltd.
  • MATHEWS, M., Pasquale J. (1981). “RTSKED a Scheduled Performance Language for the Crumar General Development System”, Proceedings of the International Computer Music Conference, s. 286, San
  • Francisco: Computer Music Association.
  • MATHEWS, Max (1978). Computer Music Journal, Issue 1978/4, s. 32, USA
  • MCCARTNEY, James, (2002), “Rethinking the Computer Music Language: Super Collider”, Computer Music Journal, Vol. 26, No. 4, ss. 61-68, Languages and Environments for Computer Music, USA.
  • MOORE, F. Richard (1996). “Dreams of Computer Music: Then and Now”, Computer Music Journal, Vol. 20, No. 1, ss. 25-41, USA: The MIT Press.
  • OPCODE, Inc. (1990). MAX Documentation, Palo Alto, California: Opcode, Inc.
  • ORLAREY Y., Fober, D., Grame, S. L. (2002). “An Algebra for Block Diagram Languages”.
  • PICHEJ., Burton A. (1998). “Cecilia: A Production Interface to Csound”, Computer Music Journal, Vol. 22, No. 2, ss. 52-55, USA: The MIT Press.
  • PUCKETTE, Miller, (1988). “The Patcher”, Proceedings of the International Computer Music Conference, ss. 420- 425, San Francisco: Computer Music Association.
  • PUCKETTE, Miller (1991). “Combining Event and Signal Processing in the MAX Graphical Programming Environment”, Computer Music Journal, Vol. 15, No. 3, ss. 68-77, USA: The MIT Press.
  • RODET, X., Potard Y., Barrière, Jean-Baptiste, (1984). “The CHANT Project: From the Synthesis of the Singing Voice to Synthesis”, Computer Music Journal, Vol. 8, No. 3, ss. 15-31, USA: The MIT Press.
  • SCHRADER, Barry (1982). Introduction to Electroacoustic Music, Prentice Hall.
  • Bilgisayar Müziği Dillerinin Tarihçesi 59
  • SERWER, J. D. (1994). “Nam June Paik: Technology”, American Art, Vol. 8, No. 2, ss. 87-91, The University of Chicago Press.
  • SORENSEN, A. (2005). “Impromptu: An interactive programming environment for composition and performance”.
  • TAUBE, Heinrich. (1991), “Common Music: A Music Composition Language in Common Lisp and CLOS”, Computer Music Journal, Vol. 15, No. 2, ss. 21-32, USA: The MIT Press.
  • TRUAX, Barry (1977). “The POD System of Interactive Composition Programs”, Computer Music Journal, Vol. 1, No. 3, ss. 30-39, USA: The MIT Press.
  • USSACHEVSKY, Vladimir (1958). “Music in the Tape Medium”, The Julliard Review.
  • VERCOE, B. (1986). “CSOUND: A Manual for the Audio Processing System and Supporting Programs”, Program Documentation. MIT Media Lab., Cambridge: Massachusetts.
  • WANG, G., Cook, P. R. (2003). “ChucK: A Concurrent, On-the-fly, Audio Programming Language”, Proceedings of the 2003 International Computer Music Conference.
  • İnternet Kaynakları
  • Bilişim Sözlüğü, (2014). www.bilisimsozlugu.net, (erişim tarihi 16 Nisan 2014).
  • Cycling74.com, (2014). Max, a visual programming language for media (erişim tarihi 22 Ağustos 2014).
  • DuBois, Luke (1993). “A Brief and Largely Vague History of Cmix”, http://music.columbia.edu/cmix/history.html, (Erişim Tarihi 22.02.2014).
Toplam 44 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Bölüm Makaleler
Yazarlar

Mehmet Can Özer

Yayımlanma Tarihi 25 Ağustos 2015
Yayımlandığı Sayı Yıl 2015 Sayı: 6

Kaynak Göster

APA Özer, M. C. (2015). BİLGİSAYAR MÜZİĞİ DİLLERİNİN TARİHÇESİ. Ege Üniversitesi Devlet Türk Musikisi Konservatuvarı Dergisi(6), 47-59.
AMA Özer MC. BİLGİSAYAR MÜZİĞİ DİLLERİNİN TARİHÇESİ. EKOD. Ağustos 2015;(6):47-59.
Chicago Özer, Mehmet Can. “BİLGİSAYAR MÜZİĞİ DİLLERİNİN TARİHÇESİ”. Ege Üniversitesi Devlet Türk Musikisi Konservatuvarı Dergisi, sy. 6 (Ağustos 2015): 47-59.
EndNote Özer MC (01 Ağustos 2015) BİLGİSAYAR MÜZİĞİ DİLLERİNİN TARİHÇESİ. Ege Üniversitesi Devlet Türk Musikisi Konservatuvarı Dergisi 6 47–59.
IEEE M. C. Özer, “BİLGİSAYAR MÜZİĞİ DİLLERİNİN TARİHÇESİ”, EKOD, sy. 6, ss. 47–59, Ağustos 2015.
ISNAD Özer, Mehmet Can. “BİLGİSAYAR MÜZİĞİ DİLLERİNİN TARİHÇESİ”. Ege Üniversitesi Devlet Türk Musikisi Konservatuvarı Dergisi 6 (Ağustos 2015), 47-59.
JAMA Özer MC. BİLGİSAYAR MÜZİĞİ DİLLERİNİN TARİHÇESİ. EKOD. 2015;:47–59.
MLA Özer, Mehmet Can. “BİLGİSAYAR MÜZİĞİ DİLLERİNİN TARİHÇESİ”. Ege Üniversitesi Devlet Türk Musikisi Konservatuvarı Dergisi, sy. 6, 2015, ss. 47-59.
Vancouver Özer MC. BİLGİSAYAR MÜZİĞİ DİLLERİNİN TARİHÇESİ. EKOD. 2015(6):47-59.