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From Getting Started with SuperCollider Guide: SynthDefs and Synths,.

Notebook Solutions: synthdefs_solns.html.

Wave that fluctuates between odd harmonics and even harmonics as the basis of its

For Fun: Here is some code for a dubstep wobble bass.

Readings: A summation of the classic waveforms discussed in class with audio examples.

Curtis Roads’ The Computer Music Tutorial: pg.

(Available online through the Wellesley Library): pg.

Musimathics: The Mathematical Foundations of Music.

Notebook Solutions: sound_basics_solns.html.

Note that there is more here that will be discussed later but provides a great

From the SuperColliderBook, read the Beginner’s Tutorial (pgs.

Getting Started With SC (in SC Help Docs): 02.

Notebook Solutions: sclang_basics_solns.html.

In the SC HELP Document called “Client vs.

Optional: There is more discussion of the client/server architecture.

Of the field Max Mathews: The Digital Computer as a Musical Instrument

A high-level overview from 1963 on Computer Music from one of the originators.

The topics below correspond to the topics found on the calendar. Note that you must have a Wellesley account and be logged in to access this material. Readings for specific topics below can be found in this

The Theory and Technique of Electronic Music by Miller Puckette:.

The Scientist and Engineer’s Guide to Digital Signal Processing by Steven.

Introduction to Digital Filters with Audio Applications by Julius O.

We will also draw from a variety of other sources as well that are free and available Their own copy to explore other topics discussed. Instructor will provide those readings when necessary but students may wish to purchase

Bothīooks contain numerous readings for various topics throughout the semester. The latterĭelves into many of the topics on digital signal processing and sound synthesis. Platform and offers good insights into the mechanics of SuperCollider. The former book is written by some of the creators and editors of the SuperCollider

The Computer Music Tutorial by Curtis Roads from MIT Press.The SuperCollider Book by Scott Wilson, David Cottle and Nick Collins from MIT Press.Purchasing any materials, then I would suggest the following two books: Variety of different sources, meaning that no oneīook perfectly matches all the topics discussed in this course. A Web site accompanying the book offers code, links to the application itself and its source code, and a variety of third-party extras, extensions, libraries, and examples.There are no required textbooks for CS203. Later chapters cover more advanced topics and particular topics in computer music, including programming, sonification, spatialization, microsound, GUIs, machine listening, alternative tunings, and non-real-time synthesis practical applications and philosophical insights from the composer's and artist's perspectives and "under the hood,” developer's-eye views of SuperCollider's inner workings.

The first chapters offer an introduction to the basics, including a friendly tutorial for absolute beginners, providing the reader with skills that can serve as a foundation for further learning. The SuperCollider Book is the long-awaited guide to the design, syntax, and use of the SuperCollider language. Free, open-source, cross-platform, and with a diverse and supportive developer community, it is often the first programming language sound artists and computer musicians learn. SuperCollider, first developed by James McCartney, is an accessible blend of Smalltalk, C, and further ideas from a number of programming languages. With contributions from top academics, artists, and technologists that cover topics at levels from the introductory to the specialized, it will be a valuable sourcebook both for beginners and for advanced users. The SuperCollider Book is the essential reference to this powerful and flexible language, offering students and professionals a collection of tutorials, essays, and projects. SuperCollider is one of the most important domain-specific audio programming languages, with potential applications that include real-time interaction, installations, electroacoustic pieces, generative music, and audiovisuals. The essential reference to SuperCollider, a powerful, flexible, open-source, cross-platform audio programming language.