|Vol. 36 Issue 4 Reviews||Reviews > Publications >|
Alessandro Cipriani and Maurizio Giri: Electronic Music and Sound Design: Theory and Practice with Max/MSP, Vol. 1
Softcover, 2010, ISBN 978-88-905484-0-6, 534 pages, illustrated, references, index, foreword by David Zicarelli; available from ConTempoNet s.a.s., Via Sorelle Marchisio, 16, Rome 00168, Italy; telephone (+39) 06-35502025; fax (+39) 06 35502025; electronic mail email@example.com; http://www.virtual-sound.com/ or http://www.contemponet.com/.
Reviewed by James Harley
Alessandro Cipriani, together with Riccardo Bianchini, authored Virtual Sound (ConTempoNet, 2000), a book on computer music, essentially outlining a course for learning about digital sound using Csound as the programming environment. One of the main aims, of course, was to introduce the student reader to Csound, a program for working with audio, but with enough information on computer music concepts that other, supplementary texts would not be necessary. Cipriani, with colleague Maurizio Giri, has taken on an ambitious new project: a three-volume publication that can also make up a comprehensive course in computer music, this time using Max as the programming language (Volume Two is announced as appearing sometime in 2012).
Electronic Music and Sound Design, Vol. 1 (EMSD1) is dedicated to digital synthesis and sound design. Vol. 2 will cover additional topics such as dynamics processing, delay lines, reverberation and spatialization, digital audio and sampled sounds, MIDI, OSC, and real-time synthesis. Vol. 3 will cover nonlinear techniques (AM and FM synthesis), granular synthesis, analysis and resynthesis, convolution, physical modeling, micromontage, and computer-aided composition. The first volume is logically organized with chapters on theory alternating with practice-based chapters, enabling concepts introduced in one chapter to be applied in the next. One presumes the succeeding volumes will follow suit. The authors have given much thought to pedagogy, and have even provided guidelines for the amount of time they estimate will be required to master the material, both within a class and on one’s own (180 hours as a class, 300 as self-study).
Max has become the primary programming environment for computer music (and much else). Most universities that offer computer music courses teach Max. However, since Todd Winkler’s book Composing Interactive Music (1998) came out, at a time when MSP had not yet been added to the Max programming environment, there has not been another text that could be used in such a course setting (Miller Puckette’s Theory and Techniques of Electronic Music uses PureData as its programming environment). One reason for this may be that Max comes with an excellent set of tutorials, and the built-in Help utility is extremely useful. The tutorials and other Max documentation include sections on “theory,” so one can learn a great deal from these resources alone, but the assumption is that the user will access other sources to fill in any required knowledge. EMSD1 has been designed to cover both the theoretical and programming aspects of computer music, the “knowing” and “doing.”
The first pair of chapters (1T - Theory, and 1P - Practice) concentrates on basic sound synthesis. While there is not space here to discuss the contents of the book in detail, I think it is worthwhile to make note of the Learning Agenda section that begins each chapter, as these sections are very helpful for the instructor and for students, to both know what’s coming and to evaluate whether the content and one’s engagement with it meet the stated goals. These sections are organized into the following headings, with point-form listings under each: Prerequisites for the Chapter; Learning Objectives (sub-headings include Knowledge and Skills for the theory chapters, and Skills and Competence for the programming chapters); Contents; Activities; Testing; Supporting Materials (for theory chapters this could include Fundamental Concepts, Glossary, and Discography; for programming chapters this could include List of Principal Max/MSP Commands, List of Max/MSP Objects, Commands, Attributes and Parameters, and Glossary).
The Learning Objectives for Chapter 1T are as follows:
The Learning Objectives for Chapter 1P are listed as follows:
The second pair of chapters introduces additive and vector synthesis, while the third pair moves on to noise generators, filters, and subtractive synthesis. The final pair of chapters focuses on control signals. In addition to these four theory-practice pairs of chapters, the book includes two substantial “interludes.” The first, which comes right after the chapter pair on sound synthesis, is a detailed, 50-page engagement with Max/MSP. The Contents listing covers integers and floating-point numbers, random number generators, generating rhythmic events using the metronome object, constructing subpatches and abstractions, managing lists and variable arguments, and connecting objects without using patch cords. The aim of this interlude is to develop enough familiarity with Max/MSP that the student reader can then carry on with the more advanced synthesis topics, while more easily grasping how they can be expressed and manipulated in the programming environment.
The second Interlude occurs just before the final pair of chapters on control signals. Also 50 pages in length, this section carries on with fundamental programming tools. The Contents listing includes basic uses of the MIDI protocol, recursive operations and repeating sequences, arpeggiators and probabilistic intervals, comparing and converting values, routing signals and messages, taking lists apart and generating random lists, and generating Shepard tones.
The authors of EMSD1 have done their utmost to create a book (and related resources) that is organized with the learner in mind. The engagement with the book is, of necessity, highly interactive. They have not compromised on depth, it should be said. The material is dense, and requires focus and commitment on the part of the reader. This text, along with the future volumes, will be able to provide the basis for a comprehensive course, or series of courses, of computer music, whether in the classroom or working on one’s own.