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Bruce W Pennycook

Biographic Data

ID1457745
NAMEBruce W Pennycook
GIVEN NAMESBruce W
FAMILY NAMEPennycook
SIGNATUREPENNYCOOK B W
AFFILIATIONSMcGill University
VERIFIEDNo
TOTAL WORKS4
TOTAL CITATIONS3
AUTHOR COUNT4
EDITOR COUNT0
FIRST PUBLICATION YEAR1983
LATEST PUBLICATION YEAR2010
H-INDEX1
  • La musique électroacoustique en concert

    Open Access•Bruce Pennycook, Bruce W Pennycook•ARTICLE•Circuit Musiques contemporaines•2010

    L’apparition des logiciels et matériels MIDI, l’intervention de l’ordinateur et la composition de musiques mixtes créent de nouveaux problèmes quant à la présentation de la musique électroacoustique en concert. L’auteur en propose un historique, puis décrit l’élargissement du rôle de l’interprète auquel on assiste actuellement

  • Heart Rate Sonification

    Mark Ballora, Bruce Pennycook et al.•ARTICLE•Leonardo•2004•Cited by: 3•References: 9

    Ever since 1819, when Theophile Laënnec first put a block of wood to a patient's chest in order to listen to her heartbeat, physicians have used auscultation to help diagnose cardiopulmonary disorders. Here the authors describe a novel diagnostic method based in music technology. Digital music-synthesis software is used to transform the sequence of time intervals between consecutive heartbeats into an electroacoustic soundtrack. The results show …

  • Live electroacoustic music

    Bruce Pennycook, Bruce W Pennycook•ARTICLE•Journal of New Music Research•1997

    This paper presents some observations on certain fundamental issues associated with the presentation of music which combines performers and electronically generated and processed signals delivered by loudspeakers. I contend that several factors have limited the growth of the genre and will attempt to illustrate their origins and consequences. These comments lead to some general recommendations to correct the situation and to some observations fro…

  • Popular Music I. Folk or Popular? Distinctions, Influences, Continuities

    Bruce W Pennycook, Richard Middleton et al.•ARTICLE•Yearbook for Traditional Music•1983

  • Heart Rate Sonification

    Mark Ballora, Bruce Pennycook et al.•ARTICLE•Leonardo•2004•Cited by: 3•References: 9

    Ever since 1819, when Theophile Laënnec first put a block of wood to a patient's chest in order to listen to her heartbeat, physicians have used auscultation to help diagnose cardiopulmonary disorders. Here the authors describe a novel diagnostic method based in music technology. Digital music-synthesis software is used to transform the sequence of time intervals between consecutive heartbeats into an electroacoustic soundtrack. The results show …

  • Popular Music I. Folk or Popular? Distinctions, Influences, Continuities

    Bruce W Pennycook, Richard Middleton et al.•ARTICLE•Yearbook for Traditional Music•1983

  • Live electroacoustic music

    Bruce Pennycook, Bruce W Pennycook•ARTICLE•Journal of New Music Research•1997

    This paper presents some observations on certain fundamental issues associated with the presentation of music which combines performers and electronically generated and processed signals delivered by loudspeakers. I contend that several factors have limited the growth of the genre and will attempt to illustrate their origins and consequences. These comments lead to some general recommendations to correct the situation and to some observations fro…

  • Heart Rate Sonification

    Mark Ballora, Bruce Pennycook et al.•ARTICLE•Leonardo•2004•Cited by: 3•References: 9

    Ever since 1819, when Theophile Laënnec first put a block of wood to a patient's chest in order to listen to her heartbeat, physicians have used auscultation to help diagnose cardiopulmonary disorders. Here the authors describe a novel diagnostic method based in music technology. Digital music-synthesis software is used to transform the sequence of time intervals between consecutive heartbeats into an electroacoustic soundtrack. The results show …

  • La musique électroacoustique en concert

    Open Access•Bruce Pennycook, Bruce W Pennycook•ARTICLE•Circuit Musiques contemporaines•2010

    L’apparition des logiciels et matériels MIDI, l’intervention de l’ordinateur et la composition de musiques mixtes créent de nouveaux problèmes quant à la présentation de la musique électroacoustique en concert. L’auteur en propose un historique, puis décrit l’élargissement du rôle de l’interprète auquel on assiste actuellement

Art (4 works) · Computer Science (3 works) · Acoustics (2 works) · Aesthetics (2 works) · Human–computer interaction (2 works) · Musical (2 works) · Visual arts (2 works) · Asian Culture and Media Studies (1 work) · Auscultation (1 work) · Computer security (1 work)

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