The Oxford Handbook of Computer Music offers a state-of-the-art cross-section of the most field-defining topics and debates in computer music today. A unique contribution to the field, it situates computer music in the broad context of its creation and performance across the range of issues - from music cognition to pedagogy to sociocultural topics - that shape contemporary discourse in the field.Fifty years after musical tones were produced on a computer for the first time, developments in laptop computing have brought computer music within reach of all listeners and composers. Production and distribution of computer music have grown tremendously as a result, and the time is right for this survey of computer music in its cultural contexts. An impressive and international array of music creators and academics discuss computer music's history, present, and future with a wide perspective, including composition, improvisation, interactive performance, spatialization, sound synthesis, sonification, and modeling. Throughout, they merge practice with theory to offer a fascinating look into computer music's possibilities and enduring appeal.

Table of Contents1 Introduction: The many futures of computer music.Roger T. DeanSection I: Some histories of computer music and its technologies2. A historical view of computer music technologyDouglas Keislar3. Early hardware and early ideas in computer music - their development and their current formsPaul Doornbusch4. Sound synthesis using computersPeter ManningSection II: The Music5. Computational approaches to composition of notated instrumental music: Xenakis and the other pioneersJames Harley6. Envisaging improvisation in future computer musicRoger T. DeanSection III: Sounding Out7. Computer music: some reflectionsTrevor Wishart8. Some notes on my electronic improvisation practiceTim Perkis9. Combining the acoustic and the digital: music for instruments and computers or pre-recorded soundSimon EmmersonSection IV: Creative and Performance Modes10. Dancing the music: interactive dance and musicWayne Siegel11. Gesture and morphology in laptop music performanceGarth Paine12. Sensor based musical Instruments and interactive musicAtau Tanaka13. Spatialisation and computer musicPeter Lennox14. The voice in computer music and its relationship to place, identity and communityHazel SmithNoam Sagiv, Freya Bailes and Roger T. Dean16. An introduction to data sonificationDavid Worrall17. ElectronicaNick Collins18. Generative algorithms for making music: emergence, evolution and ecosystemsJon McCormack, Alice Eldridge, Alan Dorin and Peter McIlwainSection V: Cognition and Computation of Computer Music19. Computational modelling of music cognition and musical creativityGeraint A. Wiggins, Marcus T. Pearce and Daniel Mullensiefen20. Soundspotting: a new kind of process?Michael CaseySection VI: Sounding Out21. Interactivity and improvisationGeorge E. Lewis22. From outside the window: electronic sound performancePauline Oliveros23. Empirical studies of computer soundFreya Bailes and Roger T. DeanSection VII: Cultural and Educational Issues24. Toward the gender idealMary Simoni25. Sound-based music 4 allLeigh Landy26. Framing learning perspectives in computer music educationJoran Rudi and Palmyre PierrouxAppendix27. A chronology of computer music and related eventsPaul DoornbuschContributors