LEADER 05103nam 2200625 450 001 9910465331403321 005 20200520144314.0 010 $a0-19-024376-7 010 $a0-19-024375-9 035 $a(CKB)3710000000747406 035 $a(EBL)4704945 035 $a(SSID)ssj0001691426 035 $a(PQKBManifestationID)16538354 035 $a(PQKBTitleCode)TC0001691426 035 $a(PQKBWorkID)15064715 035 $a(PQKB)25078105 035 $a(MiAaPQ)EBC4704945 035 $a(Au-PeEL)EBL4704945 035 $a(CaPaEBR)ebr11274093 035 $a(OCoLC)953456342 035 $a(EXLCZ)993710000000747406 100 $a20161013h20162016 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aMax/MSP/Jitter for music $ea practical guide to developing interactive music systems for education and more /$fV. J. Manzo 205 $aSecond edition. 210 1$aOxford, [England] ;$aNew York, New York :$cOxford University Press,$d2016. 210 4$dİ2016 215 $a1 online resource (432 p.) 300 $aDescription based upon print version of record. 311 $a0-19-024373-2 311 $a0-19-024374-0 320 $aIncludes bibliographical references. 327 $aCover ; Max/MSP/Jitter for Music: A Practical Guide to Developing Interactive Music Systems for Education and More; Copyright ; Contents; Foreword; Preface; Why Design Custom Software?; Technology in the Classroom; Book Design; Basic Troubleshooting; Acknowledgments; About the Companion Website; 1: Introduction to Programming ; Introduction to Max ; The Max Window ; Help Patchers ; Arguments ; Separating Items in a Message ; Numbers: Integers and Floating Points ; Aligning ; Commenting ; Inspector ; Key Commands ; New Objects Learned ; Remember ; Additional Tutorials ; On Your Own 327 $a2: Generating Music The RAT Patch ; MIDI (Musical Instrument Digital Interface) ; Synthesizing MIDI Numbers ; Adding Timing ; Slider Patch ; Rat Patch 2 ; MIDI Input ; Key Commands ; New Objects Learned ; Remember ; Additional Tutorials ; On Your Own ; 3: Math and Music ; Math in Max ; Forming Intervals ; Window Dressing ; Creating Chords ; Presentation Mode ; Further Customization ; Comments ; Key Commands ; New Objects Learned ; Remember ; Additional Tutorials ; Homework ; 4: Scales and Chords ; Scale Maker ; Chord Maker ; Order of Operations ; Setting Values ; New Objects Learned 327 $aRemember Additional Tutorials ; On Your Own ; 5: Interactive Ear Training ; Ear Trainer ; Further Customization ; New Objects Learned ; Remember ; On Your Own ; 6: Data Structures ; Adding External Objects ; Tonality in Max ; Filtering Chromatic Notes to Diatonic Notes ; Random Tonal Music ; Abstractions and Subpatchers ; Working with Pitch Classes ; Alternate Way ; Tables ; New Objects Learned ; Remember ; Additional Tutorials ; External Objects Database Concise Reference List ; On Your Own ; 7: Control Interfaces ; bpatchers ; MIDI Out bpatcher ; Saving Settings ; Control Interfaces 327 $aChords Storing Presets ; New Objects Learned ; Remember ; Additional Tutorials ; On Your Own ; 8: Control Interfaces Continued ; Arguments for Abstractions ; Using the Mouse ; Using Videogame Controllers ; New Objects Learned ; Remember ; Additional Tutorials ; On Your Own ; 9: Tools for Music Theory Concepts ; Chord Progressions ; Scale Analysis ; Mode Relationships ; Harmonic Direction ; Harmonization ; New Objects Learned ; Additional Tutorials ; On Your Own ; 10: Working with Time ; Sequencing ; Step Sequencers ; The Transport ; Overdrive ; Remember ; New Objects Learned 327 $aAdditional Tutorials On Your Own ; 11: Building Standalone Applications ; Preparing the Application ; Building the Application ; Icons ; Styles ; Permission and Cross-platform Building ; Remember ; New Objects Learned ; Additional Tutorials ; On Your Own ; 12: Introduction to Max for Live ; Overview ; Crash Course in Ableton Live ; Live Browser ; Max for Live ; Plug-Ins Device Browser ; Other Menus ; Places ; Adding Book Content ; Working in Live ; Arrangement View ; MIDI and Audio Tracks ; Max for Live ; Writing a MIDI Program ; Simple Math ; Additional Max Functions Controlling Live 327 $aInstallation for Foghorn 330 $aIn Max/MSP/Jitter for Music, author and music technologist V. J. Manzo provides a user-friendly introduction to a powerful programming language that can be used to write custom software for musical interaction. This second edition brings the book fully up-to-date with new applications in integrating Max with Ableton Live and offers source code for a variety of new projects. 606 $aComputer music$xInstruction and study 608 $aElectronic books. 615 0$aComputer music$xInstruction and study. 676 $a781.3/45133 700 $aManzo$b V. J.$0904583 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910465331403321 996 $aMax$92022892 997 $aUNINA LEADER 03723nam 2200493 450 001 9910813030403321 005 20230124194545.0 010 $a0-252-05003-7 035 $a(CKB)3790000000536307 035 $a(OCoLC)993624152 035 $a(MdBmJHUP)muse59642 035 $a(MiAaPQ)EBC5161247 035 $a(Au-PeEL)EBL5161247 035 $a(CaPaEBR)ebr11473471 035 $a(EXLCZ)993790000000536307 100 $a20171223h20172017 uy 1 101 0 $aeng 135 $aur|||||||nn|n 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aJ. G. Ballard /$fD. Harlan Wilson 210 1$aUrbana, Illinois :$cUniversity of Illinois Press,$d2017. 210 4$dİ2017 215 $a1 online resource 225 1 $aModern Masters of Science Fiction 311 $a0-252-08295-8 311 $a0-252-04143-7 320 $aIncludes bibliographical references and index. 330 $a"In a long and productive career J. G. Ballard (1930-2009) achieved his greatest fame late in life when two of his novels, Crash (1973) and Empire of the Sun (1984) were made into acclaimed and award winning films. But he made his start as a science fiction writer, and throughout his life kept returning to sf genres, tweaking and reinventing them, often with a dystopian cast. The Drowned World (1962) is set in a future that eerily foresaw possible consequences of global warming, with London underwater. The Drought (1965) portrays a desertified earth. The Crystal World (1966) imagines the jungles of Africa attacked by a disease that leads them to take in too many minerals, petrifying them, and the disease spreads from species to species. In these and other novels his main attention has been to how different characters deal with disasters that cannot be overcome. He was declared to be "the voice" of New Wave sf by his famous editor, Michael Moorcock, and is widely honored for his psychological exploration of people under extreme stress. In his concrete trilogy--Crash (1973), Concrete Island (1974), and High-Rise (1975)--Ballard took on another major sf theme: technology and human dependence upon it. Again his palette was dark and his plots combustible"--$cProvided by publisher. 330 $a"Prophetic short stories and apocalyptic novels like The Crystal World made J. G. Ballard a foundational figure in the British New Wave. Rejecting the science fiction of rockets and aliens, he explored an inner space of humanity informed by psychiatry and biology and shaped by Surrealism. Later in his career, Ballard's combustible plots and violent imagery spurred controversy--even legal action--while his autobiographical 1984 war novel Empire of the Sun brought him fame. D. Harlan Wilson offers the first career-spanning analysis of an author who helped steer SF in new, if startling, directions. Here was a writer committed to moral ambiguity, one who drowned the world and erected a London high-rise doomed to descend into savagery--and coolly picked apart the characters trapped within each story. Wilson also examines Ballard's methods, his influence on cyberpunk, and the ways his fiction operates within the sphere of our larger culture and within SF itself"--$cProvided by publisher. 410 0$aModern masters of science fiction. 606 $aScience fiction, English$xHistory and criticism 615 0$aScience fiction, English$xHistory and criticism. 676 $a823.914 686 $aLIT004260$aBIO007000$2bisacsh 700 $aWilson$b D. Harlan$01128126 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910813030403321 996 $aJ. G. Ballard$94105654 997 $aUNINA