The Csound Book: Perspectives in Software Synthesis, Sound Design, Signal Processing, and Programming.(Review)

Softcover, 2000, ISBN 0-262-52261-6, 740 pages, illustrated, appendices, bibliography, discography, index, CD-ROMs (2); The MIT Press, 5 Cambridge Center, Cambridge, Massachusetts 02142-1493, USA; telephone (800) 356-0343; electronic mail mitpress-orders@mit.edu; World Wide Web mitpress.mit.edu

There are a relatively small number of texts that might be considered absolutely essential for the library of the computer music practitioner. Among the volumes on the studio shelf we might find The Technology of Computer Music by Max Mathews, Elements of Computer Music by F. Richard Moore, Curtis Roads' Computer Music Tutorial, Computer Music by Charles Dodge and Thomas A. Jerse, and possibly John R. Pierce's The Science of Musical Sound or Eduardo Reck Miranda's recent Computer Music Techniques for the Electronic Musician. New for 2000, and highly anticipated, The Csound Book, edited by Richard Boulanger and featuring a host of computer musicians as contributing authors, is destined to find its rightful place alongside the classic contributions to our field. The actual printed text is accompanied by two CD-ROMs chock full of several more books' worth of material. This package is a remarkable reservoir of information specific to the Csound compiler; it is also very useful as a general text concerning many aspects of computer music techniques and synthesis methods. Csound is certainly one of the most important tools for the creative computer musician. It is likely that this book will bring many more musicians into the fold and become a catalyst for further development of the art of computer music composition and music software design. Undoubtedly, it will also inspire continued innovations of the Csound software itself.

The Csound Book does not replace the other important computer music texts that have a more general or theoretical premise, nor does it seek to. It does, however, make a great companion book, allowing the reader to explore practical applications of concepts such as Fourier synthesis, digital filter theory, chaotic systems, reverberation, and algorithmic composition. This is accomplished very elegantly and always with reference to direct sonic experience with the aid of numerous examples of Csound code. The text serves an important function by providing concrete examples of myriad synthesis methods, digital signal processing techniques, and specialized applications within one conceptual framework.

While it is clear that Mr. Boulanger has conceived his text with pedagogical intent, as evidenced by his own excellent tutorial chapter, this is also a book which will bring significant enlightenment to composers and sound designers who already have considerable experience working with this software or with other computer music systems. Those of us who work closely with Csound have come to rely on its considerable depth, relative ease of programming, excellent sonic quality, and technical generality. As one becomes more expert with the language, more and more possibilities for its use seem to reach to the horizons of creative imagination. Many have lamented, however, the terse documentation of the Csound manual. This is not to suggest that the documentation is flawed; on the contrary, it is quite excellent and well maintained as new opcodes are added and the language continues to develop (a complete manual is found on the accompanying CD-ROMs). It is simply that the manual does not provide sufficient examples of how the various opcodes and features of the language may be used by composers and researchers. Such insights have up to now been rare and sorely missed by beginner and expert alike. The Csound Book succeeds brilliantly in filling the void. Even for the seasoned computer musician, the text provides numerous opportunities for "ah ha!" moments and spurs renewed creative responses to musical problems. Part of the reason for this lies in the abundant resources of the language itself (now comprising over 450 opcodes) and its continued development and refinement by members of the Csound community, many of whom are represented in this new publication.

Another reason that the text is a wellspring for the creative imagination is that each composer's approach to working with Csound is likely to be somewhat idiosyncratic and personal. The language invites originality, as does the general method of software synthesis. It is very interesting indeed to be able to investigate the methods of the many contributing authors and composers. Therefore, this book becomes an extremely valuable resource in that it displays the working methods of many fine practitioners, with well-documented and concrete examples, while at the same time explaining the finer aspects of the language and providing general edification on topics central to computer applications for music.

Mr. Boulanger's efforts to create a fine book shine through admirably in every aspect of this project. The text, including the additional chapters on CD-ROM, is replete with excellent graphics, uniform and well commented coding examples, illustrative instrument-design flowcharts, thorough indexing, appendices of various kinds--and all of it extremely well edited. There is an impressive unity to the text even though different authors have written the various chapters. The scope of the undertaking has been enormous. If there are errata they have evaded the careful eye of this reviewer. Further, the text and accompanying CD-ROMs are thoughtfully organized, beginning with Mr. Boulanger's long and detailed tutorial chapter. In fact, he suggests that the book might work well for a variety of course foci. In the Introduction, he outlines which chapters might be used for courses with special emphases in Csound, introductory and advanced music synthesis, digital signal processing, composition and aesthetics, physical modeling, and so on.

As someone who teaches Csound in the university context, the pedagogical attributes of The Csound Book are most welcome. Students love the text, have a much easier time getting started with the program (overcoming the notoriously steep learning curve much more quickly), and are able to satisfy their hunger for more sophisticated and engrossing synthesis methods much more quickly, with greater ease, and with a more thorough theoretical grounding. One feature of the text that may be overlooked by some is the treasure trove of instruments and compositions contained on the CD-ROMs. Many of these are by established composers of computer music and by the authors of the various chapters. Others, however, are by students from around the world. These instrument designs and compositions are of potential interest to other students and provide a resource for modification and analysis that is useful to the learning process. Their inclusion is far from superfluous.