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A historical survey of computer music is presented. As the title suggests, this survey is written for the composer, in order to facilitate his access to the tools currently offered by technology. Approaches both to computer composition and to sound synthesis techniques are considered. These are discussed in terms of their music‐theoretical implications, modes of man‐machine communication, and hardware configurations. Under computer composition, the various degrees to which a digital computer can participate in the compositional process are discussed. As regards sound synthesis, both digital and hybrid techniques are considered. Throughout, the presentation is based on a discussion of specific systems, which provide a historical review of the field. In addition, extensive references are made to the existing literature, in order to direct the reader to additional information. [ABSTRACT FROM PUBLISHER]

Explores the articulatory and cognitive aspects of marking menus for different numbers of items per menu using different input devices. Execution of the physical actions from the pie marking menu; Comparison between the performance of the subject better with the mouse and stylus than with the trackball; Degradation on the performance of the subjects given an increased number of items.

Examines the use of different kinds of feedback in preventing mode errors. Definition of a mode error; Frequency of mode errors in a text-editing task; Comparison of effectiveness between kinesthetic and visual feedback; Factors contributing to the superiority of kinesthetic feedback.