Computer manipulation of “Water Music," an orchestral suite composed by George Frideric Handel in 1717 (published in 1740), which he had conducted for King George I of England during boating parties on the river Thames. My concept was to use the computer to program techniques (using Common Lisp Music) that would make a recording of Handel’s piece sound as if it had been put underwater. The piece is first made to sound like it is being played in modern-day times through a small boom-box at poolside: a little “water music” for water-loving people. Midway through, however, the boom-box is knocked into the pool and the piece is made to sound like it is being played underwater. This effect is achieved using convolution of the original recording with an impulse response that I recorded underwater at Stanford's DeGuerre pool using a small rock and a $2 Radio Shack microphone component covered with a balloon (to keep the mic from being ruined in the water). An “impulse response” essentially captures the reverberation quality of the pool, and “convolution” then simply masks this quality onto the soundfile of the original Handel recording. The resulting convoluted soundfile is also cross-synthesized and mixed with recordings of underwater turbulence, or bubbles, to create a sense of splash (when it is thrown into the pool) and to garble the sound of the recording so as to better enhance the effect of it being underwater.