Comment by bane

Oh man, I get that as an author you have to choose a path to introduce the new learner to...but it bums me out to see that the material completely avoids tracking as one of the preeminent ways to make music on computers.

Instead it goes down the midi path, which of course ultimately is the dominant commercial technology today. But I've always thought that the complexity and expense of a good midi setup is more of a prosumer-type thing.

Tracking gets you quick entry from chiptunes through extraordinarily expressive sampling to VSTs and even into midi at the edges, and there's trackers for pretty much every kind of computer that can make music.

You can very cheap/free/easily explore the main musical concepts presented here from synthesis to digital audio.

Bonus, most classical tracker files are a kind of "open source" music in that you can see all the note data, the techniques the composers used, and have access to all of their instruments. You get to "see" both composition and performance details down to the note.

I really wish that the academic computer arts educators would catch on to these core pieces of the demoscene -- which is now UNESCO recognized by now six countries as intangible cultural heritage for all of humanity -- and were developed to both challenge and wow the audience and make production by literally penniless children possible.