Shahrokh D. Yadegari
Auditory qualities were defined as ``sound'' and ``music'' using a definition for musical communication over a self-similar channel whose plexus is the relationship between form and content. The term ``musical timbre'' was introduced in contrast to the timbre of sound, and a uniformity among the different time scales of musical perception (i.e., form, rhythm, and pitch) was established. Schoenberg's theory of harmony was studied and the physical continuum of consonances and dissonances was extended to the relationship between sound and music (i.e. physical and psychological effects of music).
Self-similarity, self-referentiality, and chaos were briefly explained. A simple but intuitive, explanation of a class of self-similar signals were represented. The results of an analysis of some pieces in this context was presented.
It was established that serialism is a powerful basis for computer music, and the use of self-similarity is a logical step toward the evolution of music. A synthesis method based on self-similarity was devised and implemented. No distinction is made between sound and music, or form and content in this paradigm. A few techniques for using this system were described and the results were presented as audio examples on an accompanying digital audio cassette.