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<!DOCTYPE html>
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<meta name="index" content="Sergio Granada-Moreno Portfolio">
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<title> Diseño de aplicaciones musicales</title>
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<link href="http://musica.uniandes.edu.co/">
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<br><br><br><br>
<p>Esta página contiene enlaces a lecturas sugeridas para el desarrollo de la clase. <br></p>
<p><b>1. Material introductorio:</b></p><br>
<ul>(1) 'What is digital audio' (<a href="http://write.flossmanuals.net/pure-data/what-is-digital-audio/" target="_blank"><u>FLOSS 2012</u></a>).<br>
(2) Capítulo 1, 'Introduction to programming' (<a href="http://www.vjmanzo.com/vj/publications.html" target="_blank"><u>Manzo 2011, pp. 1-17</u></a>).<br>
(2) 'Digital Audio' (<a href="http://music.arts.uci.edu/dobrian/digitalaudio.htm" target="_blank"><u>Dobrian 1997</u></a>).</ul>
<p><b>2. Audio digital, síntesis y modulación:</b></p><br>
<ul> (1) Capítulo 7, 'Digital Signals' (<a href="https://mitpress.mit.edu/books/designing-sound" target="_blank"><u>Farnell 2010, pp. 119-125</u></a>).<br>
(2) Capítulo 12, 'Working with audio' (<a href="http://www.vjmanzo.com/vj/publications.html" target="_blank"><u>Manzo 2011, pp. 212-236</u></a>).<br>
(3) Capitulo 5.3-4 'Modulation' ('Waveshaping & Frequency and phase modulation') en 'The Theory and Technique of Electronic Music' (<a href="http://msp.ucsd.edu/techniques.htm" target="_blank"><u>Puckette 2007, pp. 126-133</u></a>). <br>
(4) Capítulo 2, 'Loose modelling approaches: from modulation and waveshaping to Walsh and wavetable' en 'Computer Sound Design Focal Press' (<a href="https://www.amazon.com/Computer-Sound-Design-techniques-programming/dp/0240516931" target="_blank"><u>Miranda 2002, pp. 19-43</u></a>).</ul>
<p><b>3. Señales de control:</b></p><br>
<ul>(1) Capítulo 3, 'Audio and control computations' en 'The Theory and Technique of Electronic Music' (<a href="http://msp.ucsd.edu/techniques.htm" target="_blank"><u>Puckette 2007, pp. 63-77</u></a>).</ul>
<ul>(2) 'Polyphony Tutorial 3: Audio-Rate Control Data' (<a href="https://docs.cycling74.com/max7/tutorials/11_polychapter03" target="_blank"><u>Cycling74 2014</u></a>).</ul>
<p><b>4. Sampling:</b></p><br>
<ul>(1) Capitulo 2 'Wavetables and samplers' en 'The Theory and Technique of Electronic Music' (<a href="http://msp.ucsd.edu/techniques.htm" target="_blank"><u>Puckette 2007, pp. 27-36</u></a>).<br>
(2) Capítulo 14, 'Audio buffers' (<a href="http://www.vjmanzo.com/vj/publications.html" target="_blank"><u>Manzo 2011, pp. 250-262</u></a>).<br>
(3) 'Time and Pitch Manipulation in Max 7' (<a href="https://cycling74.com/2014/10/27/time-and-pitch-manipulation-in-max-7/" target="_blank"><u>Brunner 2014</u></a>).</ul>
<p><b>5. Polifonía:</b></p><br>
<ul>(1) 'MSP Tutorial 21: Using the poly~ object (<a href="https://docs.cycling74.com/max6/dynamic/c74_docs.html#mspchapter21" target="_blank"><u>Cycling74 2015</u></a>)<br>
(2) 'Working with poly~' (<a href="http://peterelsea.com/Maxtuts_msp//Working_with_Poly.pdf" target="_blank"><u>Elsea 2002</u></a>).</ul>
<p><b>6. Secuenciadores:</b></p><br>
<ul>(1) Capítulo 10, 'Working with Time' (<a href="http://www.vjmanzo.com/vj/publications.html" target="_blank"><u>Manzo 2011, pp. 178-198</u></a>).<br>
(2) 'Max for Live Ultimate Zen Guide' (<a href="http://samples.leanpub.com/Max-for-Live-Ultimate-Zen-Guide-sample.pdf" target="_blank"><u>Bayle 2013, pp. 1-18</u></a>).</ul>
<p><b>7. Análisis y resíntesis (FFT):</b></p><br>
<ul>(1) 'Time Stretching And Pitch Shifting of Audio Signals – An Overview' (<a href="http://blogs.zynaptiq.com/bernsee/time-pitch-overview/" target="_blank"><u>Bernsee 1999</u></a>).<br>
(2) Capitulo 9 'Fourier analysis and resynthesis' en 'The Theory and Technique of Electronic Music' (<a href="http://msp.ucsd.edu/techniques.htm" target="_blank"><u>Puckette 2007, pp. 263-286</u></a>).</ul>
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