@@ -65,18 +65,25 @@ <h3>Sound and musical informatics</h3>
6565 < h3 > Notes</ h3 >
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6767 < p class ="txt ">
68- 1. Douglas Kahn, Noise, Water, Meat: A History of Sound in the Arts (MIT Press, 2001), p. 10.
69- 2. Paul Théberge, Any Sound You Can Imagine: Making Music / Consuming Technology (Wesleyan University Press, 1997), p. 105.
70- 3. John Cage, “Credo: The Future of Music (1937),” in John Cage: An Anthology, edited by Richard Kostelanetz (Praeger, 1970), p. 52.
71- 4. Joel Chadabe, Electric Sound: The Past and Promise of Electronic Music (Prentice Hall, 1996), p. 145.
72- 5. Curtis Roads, The Computer Music Tutorial (MIT Press, 1996), p. 43.
73- 6. Albert Bregman, Auditory Scene Analysis (MIT Press, 1994), p. 215.
68+ < ol >
69+ < li > Douglas Kahn, < em > Noise, Water, Meat: A History of Sound in the Arts</ em > (MIT Press, 2001), p. 10.</ li >
70+ < li > Paul Théberge, < em > Any Sound You Can Imagine: Making Music / Consuming Technology</ em > (Wesleyan University Press, 1997), p. 105.</ li >
71+ < li > John Cage, “Credo: The Future of Music (1937),” in < em > John Cage: An Anthology</ em > , edited by Richard Kostelanetz (Praeger, 1970), p. 52.</ li >
72+ < li > Joel Chadabe, < em > Electric Sound: The Past and Promise of Electronic Music</ em > (Prentice Hall, 1996), p. 145.</ li >
73+ < li > Curtis Roads, < em > The Computer Music Tutorial</ em > (MIT Press, 1996), p. 43.</ li >
74+ < li > Albert Bregman, < em > Auditory Scene Analysis</ em > (MIT Press, 1994), p. 215.</ li >
75+ </ ol >
7476 </ p >
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78- < h3 > Example 1 </ h3 >
80+ < h3 > Code </ h3 >
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84+ < p class ="txt "> Example 1</ p >
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86+ < p >
8087 < pre >
8188 < span style ="color: #666666; "> /**</ span >
8289 < span style ="color: #666666; "> * In this example, five sine waves are layered to construct a cluster </ span >
@@ -125,8 +132,11 @@ <h3>Example 1</h3>
125132 }
126133 }
127134 </ pre >
135+ </ p >
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129- < h3 > Example 2</ h3 >
139+ < p class =" txt " > Example 2</ p >
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