Snoman's "Dance Music Manual" and Shepard "Refining Sound" are good books to start with
(I'm old school about synths and sequencer, i think it's best to start with a knobby hardware synth, microbrute, ms2000, Minilogue, bass station II, sh201, mopho and understand how it's designed to work and how it glitches/fails gracefully)
https://news.ycombinator.com/item?id=9635037 (that particular K-S synth isn't online anymore but somebody else put up a demo)
https://news.ycombinator.com/item?id=10177716 (supercollier, alda et al)
Big fan of Terry Riley, Lamont Young, Philip Glass, Arvo Pärt also.
[Edit] I wanted to include mention of the cross-platform, all-in-one executable, GRACE (Graphical Realtime Algorithmic Composition Environment) that may be easier to start with. It has built-in tutorials, and is based on Common Music, Common Lisp Music, and has lots of functionality. The single Windows executable has all of that wrapped inside of it. I used it before Extempore, so now I am using the examples in GRACE and trying to copy them in Extempore to learn Extempore, since they both have language similarities - Scheme/Lisp. Extempore is now easier to use on any platform, since binaries are available; you no longer need to build it yourself.
I've been following and dabbling with livecoding ever since I found Fluxus many, many years ago . My current fave is Extempore . I find that the examples that sound good to me from any of the livecoding environments make a lot of use of samples. A lot of these environments are capable of low-level DSP stuff, but they don't seem to lend themselves well to livecoding from the signal level. As far as I can tell, a function or library of instruments is developed in the 'studio' and then performed live.
Tidal was more a pattern maker, manipulator that seemed to lend itself well to livecoding due to the terse syntax .
I program in J (not livecoding), but a fellow named John Earnest made a 'graphical sandbox for k', and then added audio too .
I think it is going to be something like ike from John Earnest, Tidal, or your, noise funge, if I don't write my own, that finally gets me playing and making music! Cool work.
Some free AU's may work with garage band also: https://ask.audio/articles/8-awesome-free-audio-plug-in-synt...
For sound synthesizes I've had an easier time (I just wish I could get my hands on some analog modules). I've been reading Gordon Reid's Synth Secret, recommended often here on HN.
That said, for me many of later demos clip whenever 3+ sounds are playing - e.g. the "Cor Anglais" one. I expect that adding a compressor at the end of the audio chain would fix it.
(It might be platform dependent though - when I've experimented with webaudio, it seems like sometimes a demo will clip on windows but not on mac, or such. I guess OSes sometimes compress outgoing audio automatically?)
I am convinced that with modern Machine Learning algorithms thrown into the pipeline it will only be a few short years before we are able to conjure up whatever type of music our context dictates. It's already happening.
It will be interesting to see how the RIAA respond to a new world where we can say
"Alexa, please play me some Led Zeppelin remixed with Rihanna in the style of Skrillex" (and you fill in the blanks)
Or even better after a one time analysis of you and your partners entire Spotify collections, just start making up new works perfectly in tune with the moment.
Really exciting times, and a stunning article.
He was ~17 in that video, and he built the computer as well.
I had heard of other minimalist artists before, but until a couple years ago somehow had missed Reich.
I'm now an addict, especially to his later pieces when he really started growing his work into larger and larger themes. "Music for 18 Musicians" has become one of my favorite pieces of music of all time. I say this as somebody who finds a great deal of modern art fairly deplorable -- the first time I heard some of Reich's pieces I stayed up the entire night finding everything of his I could put into my ears.
Reich has a nack for finding incredibly beautiful and urgent patterns and sounds and exploring them to a kind of amazing fullness. I never had the pleasure to play any of this pieces when I was attempting to become a musician, I understand that the practice for a piece can take months to a year because of the difficulties of maintaining your part of the phase. Listening to his music is, to me, a very intense activity, because I desperately want to notice when the music starts changing and because of the phasing it never does. There's certain parts of the phasing to that I find particularly enjoyable, but I've also found that you can't just jump to them, you have to encounter them in the context of the phases that come before and after. Once you get quite familiar with his music you'll find elements of his influence all over the place (for example, careful listeners will probably recognize this piece as the core of a much later EDM hit https://www.youtube.com/watch?v=Miu19QHBQiw).
I don't enjoy his earlier, very intense explorations into phase music, but he manages to develop the concepts into a very full and beautiful music:
https://www.youtube.com/watch?v=ZXJWO2FQ16c (music for 18)
https://www.youtube.com/watch?v=zLckHHc25ww (another performance of the same)
https://www.youtube.com/watch?v=edKE10Yz_zs (six pianos)
https://www.youtube.com/watch?v=TbC5zhFX7Kw (Octet Eight Lines)
https://www.youtube.com/watch?v=O5qOtXql-oI (Desert Music)
https://www.youtube.com/watch?v=Udn9cZYWmIk (Music for a large ensemble)
And this insanity, a solo performance of one of his early phase pieces https://www.youtube.com/watch?v=AnQdP03iYIo
If you liked the visualizations in this here a nice one for "Music for Pieces of Wood" https://www.youtube.com/watch?v=gy2kyRrXm2g
and then humans doing the same https://www.youtube.com/watch?v=5LbmvD7ytDc
and another good visualization of the phase music approach https://www.youtube.com/watch?v=lzkOFJMI5i8
(Section 1 of 18 Musicians slowed down by a factor of 8). Surprisingly absorbing.
("Sampled" is maybe a generous expression -- "ripped off" might be more like it, considering that Reich's piece provides the entire structure of the song.)
The exposition, history, coding - the whole package - is just great. Thank you for this!