COURSE OUTLINE + SCHEDULE OF ASSIGNMENTS
The schedule will be updated with homework and slides after every class.
I: INTRODUCTION, ACOUSTICS, AND RECORDING
9/1
Overview of Topics + Syllabus, Discussion of Electronic Music + Listening | SLIDES
Homework: Complete TIMARA Start-of-Semester Action Items (complete ONLY steps 1 and 2a)
Also check out the links at https://timara.reclaim.hosting
Read “What is Electronic Music?” by Thom Holmes from Electronic and Experimental Music: Pioneers in Technology and Composition
Listen to Racing Through, Racing Unseen by Natasha Barrett. Program notes here.
As you listen to this work, consider the following questions (not being graded, just for yourself):
What sounds do you hear in this work? What techniques does it seem were used to create these sounds (microphones, computer, instruments, etc.)? Do these sounds evoke (a) location(s) or place(s)? How is the work organized; how does it change over time?
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9/6 Sound Terminology Review, Acoustics | SLIDES
HW: Read Introduction to Acoustics: Waves and Sound (disregard the mathematics!)
Watch this short video on how the ear works (disregard technical names, just understand the system as a whole)
Listen to “Dripsody” by Hugh LeCaine and “One Minute” by Ryoji Ikeda
How do these pieces activate the ears? What techniques does it seem were used to create these sounds (microphones, computer, instruments, etc.)? How is the work organized; how does it change over time (or how is it structured)?
9/8 Sound Terminology Review, Acoustics, cont., Microphones | SLIDES
HW: After class, check out a portable recorder from the TIMARA Gear Depot.
Using that recorder and a partner, in groups of two please record the following sounds over the weekend:
RECORDER SCAVENGER HUNT SOUND LIST
2 periodic sounds (pitched sounds)2 aperiodic sounds (noisy sounds)1 close sound (near to the mics)1 faraway sound (far from the mics)2 moving sounds (source/mics changing location during recording)2 ‘what the…’ AKA ‘guess the source’ sounds Transfer the recorded files (should be 10 (at least)) to your computer, and upload to a folder with you and your partner’s name to the class Box folder named “Recorder Scavenger Hunt (Due September 13th)”.
Read “Some Sound Observations” by Pauline Oliveros, from Audio Culture: Readings in Modern Music
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II: SINGLE-TRACK EDITING, DIGITAL AUDIO THEORY, AND ELECTRONIC MUSIC HISTORY I
9/13 Microphones + Listening to Scavenger Hunt Recordings | SLIDES
Download the ocenaudio Help Sheet here. No specific work with ocenaudio, but please have it downloaded and functioning on your personal machine! You should feel comfortable with BASICS.1 and BASICS.2.
HW: Read “Early Electronic Music in Europe” by Thom Holmes from Electronic and Experimental Music: Pioneers in Technology and Composition
Listen to Étude aux Chemins de Fer by Pierre Schaeffer and Gesang Der Juenglinge (Excerpt) by Karlheinz Stockhausen.
9/15 ocenaudio I: Basic Editing, Importing, Exporting, Tape Music, History of Electronic Music I: Musique Concrète from 1940s to the Present | SLIDES
HW: Read “How Digital Audio Works” from the Max v7.3.5 Documentation. First half should be review (“Complex tones” is interesting!), important bit is from “Digital representation of sound” up until “Advantages of digital audio” (no need to read this).
Also check out the How Digital Audio Works Help Sheet
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9/20 More History of Electronic Music I: Musique Concrète from 1940s to the Present, ocenaudio II: Advanced | SLIDES
HW: Single track editor play: using sounds the class recorded during the Scavenger Hunt, create a 10-15 second (no more, no less) exploration of sound editing and processing using all of the techniques outlined on the Help Sheet here. Submit it to this Box folder. Have fun!
Read The Art of Noise by Luigi Russolo
Listen to “Plåtmås” by Hanna Hartman and “I am sitting in a room” by Alvin Lucier (listen to first ~5 minutes, then seek around afterwards)
9/22 The Art of Noise, Introduce Project 1 | SLIDES
HW: Finish Project 1 (due on Monday)
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9/26 — Project 1 Due (9PM)
9/27 Reviewing Project 1, History of Electronic Music Studios, Digital Audio Introduction
HW (this is a repeat, apologies): Read “How Digital Audio Works” from the Max v7.3.5 Documentation. First half should be review (“Complex tones” is interesting!), important bit is from “Digital representation of sound” up until “Advantages of digital audio” (no need to read this).
Also check out the How Digital Audio Works Help Sheet
9/29 Digital Audio Theory: Sample Rate, Bit Depth, File Types | SLIDES (Quiz 1 Review at End)
HW: Prepare for Quiz I (in-class, use slides above)
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III: MULTI-TRACK EDITING, DIGITAL SIGNAL PROCESSING, AND COMPOSITION
10/4 Quiz I, More on Digital Audio, End early for Rhiannon Giddens Concert
HW: Download and install REAPER. Download the REAPER Help Sheet here.
TSwift_SamplingRate+BitDepthDemos.zip
10/6 Reviewing Digital Audio, REAPER I: Basic Editing, Importing, Exporting
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10/11 Reaper II: Automation + FX, DSP Effects I: Time Domain Effects (Delay/Echo, Stereo Imaging, Reverb, Modulation Effects) | SLIDES
HW: Listen to Robert Normandeau’s Jeu (excerpt) (try with headphones!) and Steve Reich’s Violin Fase OR Steve Reich’s Piano Fase
10/13 The Phasing Technique (a la Reich), More on DSP Effects I
🍂 Fall Break - 15th to 23rd 🍂
10/25 CLASS CANCELLED
HW: Read Steve Reich’s Music as a Gradual Process and Brian Eno’s Ambient Music (both very short)
Listen to Donato Wharton’s Puget Sound and whatever you’d like of Aphex Twin’s Selected Ambient Works 85-92
10/27 The Theremin (with Katia Rumin), Ambient Music, Introduce Composition 2: Timbre Clouds
HW: Start Composition 2: Timbre Clouds
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11/1 Review and explore REAPER plug-ins in Audio Effects HELP SHEET (Audio Effects I + II)
HW: Finish Composition 2: Timbre Clouds
11/2 — Project 2 Due (9pm)
11/3 Review Composition 2: Timbre Clouds, Sound Walk, Introduction to Soundscape Composition
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IV: SYNTHESIS, MIDI AND VIRTUAL INSTRUMENTS, MIXING, AND ELECTRONIC MUSIC HISTORY II
11/8 Review of Composition 2: Timbre Clouds, cont.,
HW: Watch György Ligeti’s Artikulation. Here is a key for the symbols you see. Will talk about in more detail what exactly is going on next class. Listen for R2-D2!
Listen to Bye Bye Butterfly by Pauline Oliveros
Read selections from “Principles of Analog Synthesis and Voltage Control” by Thom Holmes (first 12 pages, for the most part, are review. Read 236-245)
11/10 Synthesis Theory + Synthesizers
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11/15 Synthesis Theory + Synthesizers, cont., Introduce Composition 3: Process + Pulse | SLIDES
11/17 Sequencers + MIDI | SLIDES
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V: ADVANCED TOPICS, SOUND DESIGN, AND FINAL PROJECT
11/22 Individual 3-minute meetings during class-time
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🍂 THANKSGIVING BREAK - 24th to 27th 🍂
11/29 Listen to Project 3 Selections, Quiz II Review | SLIDES (for Quiz II)
12/1 Quiz II: Audio Effects, Synthesis, MIDI, Elektronische Musik History, Mixing Workshop (found here)
HW: Mini-Mix Assignment
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12/6 Listen to Mini-Mixes, In-Class Demonstration of Mixers, Audio Interfaces, and Live Sound Workshop
HW: Finish Final Project
12/8 Final Project Presentations Part I
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12/13 Final Project Presentations Part II