Continued with EM essay

Experimental_Music_Assignment_2/essay/U1265119-Experimental_Music-Assignment2-Essay.tex

@@ -53,29 +53,56 @@
     \date{}
 
     \begin{abstract} 
+        The use of electronic feedback as tools for musical composition has
+        featured in many composition, popular for it's volatile and
+        indeterminate nature.  Intrinsic to the use of feedback is the use of
+        amplification, capable of artificially altering an input's energy, as a
+        method for feedback control. This essay aims to provide a definition of
+        these tools in their different forms, and to analyse their use in a
+        range of prominent compositions. Forms of feedback will be defined,
+        followed by a discussion of the musical implications of their use,
+        including consideration for aspects such as process, indeterminacy,
+        spectral implications and rhythmic implications. This will be related
+        to a number of compositions in order to provide an overall
+        understanding of their role in experimental music composition.
     \end{abstract}
 
     \maketitle
 
     \section{Defining feedback and amplification}
+    A simple definition of feedback is the process of routing the output of a
+    system back to the input of that system.~\parencite[p.1]{weisert2010ioi}
+    This can take many form in the context of music, whether it is the acoustic
+    feedback created by aiming a microphone to it's amplifier, or the digital
+    feedback present in an IIR filter, in all cases a loop is created from an
+    output point of a system, back to it's input.\\
+    The three types of feedback to be considered are:
+    \begin{itemize}
+        \item{Acoustic Feedback}
+        \item{Electronic Feedback}
+        \item{Mathmatical Feedback}
+    \end{itemize}
+        
         \subsection{Acoustic Feedback}
         \subsection{Electronic Feedback}
         \subsection{Mathmatical FeedbacK}
         Rational Melody XXI - Tom Johnson
         Not electronic feedback, but serves as an example that feedback is not
         limited to electronics.
+        IIR filter example?
         \subsection{Amplification}
 
     \section{Musical Aspects and Implications of Feedback Systems}
         \subsection{Indeterminacy}
         \subsection{Process and Control}
         \subsection{Rhythmic/Temporal Implications of Feedback}
+        \subsection{Spectral Implications of Feedback}
         \subsection{Dynamic Implications of Artificial Amplitude Adjustment}
 
     \section{Composition Analysis}
         \subsection{Acoustic Feedback}
             Steve Reich's Pendulum Music
-            Robert Ashley's The Wolfman
+            Robert Ashley's The Wolfman - ref: kyle gann - robert ashley
 
         \subsection{Electronic Feedback}
             David Tutor's Untitled (1996), Toneburst (2004), and Pulsers (1996)