This page contains writings, interviews and lectures on composition, aesthetics, and computer music technology.

Download Selected Writings

VisualAudio - An environment for designing, tuning and testing embedded audio applications - 2005 Conference of the Audio Engineering Society (AES), New York City, 2005.

Extensions of the Karplus-Strong Plucked String Algorithm - by D. Jaffe and J. O. Smith, in Computer Music Journal (Summer 1983-vol. 7, no. 2).

Musical and Extramusical Applications of the NeXT Music Kit, Proceedings of the 1991 International Computer Music Conference, Montreal.

Intelligent Musical Instruments: The Future of Musical Performance or the Demise of the Performer? , Interface Journal for New Music Research, December, 1993.

JSTOR articles

Impossible Animals: Notes on Birds and Musical Style - by D. Jaffe, Perspectives of New Music, 1995.

The Computer-Extended Ensemble - by D. Jaffe and W. A. Schloss, in Computer Music Journal, 1994.

Spectrum Analysis Tutorial, Part1: The Discrete Fourier Transform - by D. Jaffe in Computer Music Journal, 1987

Ten Criteria for Evaluating Synthesis Techniques - by D. Jaffe in Computer Music Journal, 1995.

Symposium on Computer Music Composition - Edited by Curtis Roads, Computer Music Journal, 1986.

SynthBuilder: A Graphical Rapid-Prototyping Tool for the Development of Music Synthesis and Effects Patches on Multiple Platforms - by N. Porcaro, D. Jaffe, et. al., Computer Music Journal, 1998.

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A Conversation With David A. Jaffe

Interview with Professor Dr. Tom Moore, published in Sonograma magazine, 2011.

TM: What sort of musical background was there in your family?

DJ: My father was an amateur mandolin player, and his father was also a mandolin player. My grandfather played in a Jewish mandolin orchestra in New York City – there were a couple of them. Depending on how far left your politics were, that would dictate which one you would play in. He was in the one that was associated with the newspaper called the Morning Freiheit, which was a Yiddish newspaper. My father took mandolin lessons – he was quite a good player, had excellent technique, and enjoyed it a lot. My mother played piano, but not so much.

I started playing violin at school when I was in fourth grade. I later studied with Samuel Applebaum, father of Michael Tree. and a well-known pedagogue who wrote a lot of books on violin technique and literature. I started playing oboe a couple of years later, then started playing guitar, and moved through a lot of different instruments, picked up the five-string banjo, and played fiddle music on the violin, then started playing mandolin, and at some point dropped classical violin, played a lot of bluegrass music, and different kinds of music – rock, jazz… I played bass in a jazz band with a couple of saxophones and piano; I played in rock bands – lots of different kinds of things. Around eleventh grade I started composing, and also picked up the cello. I was taking a music appreciation class, and they were playing recordings of Mozart. I thought that the cello parts sounded pretty easy, so I asked if I could borrow a cello. They lent me one, and I went home and learned the cello parts. Then I started studying cello more seriously and was composing string quartets in high school. I was thinking of going to college as a cellist, applied and was accepted at various places, but instead decided to join a bluegrass band called “Bottle Hill” fulltime, and toured with them for a couple of years...

Click to read full interview on Sonograma site...