|sound lab -
Capturing and transforming sound by computer for artistic purposes. Emphasis is on the student's own creative use of aural material from real world, on providing a basic foundation in the signal processing theory and technique most useful for computer music, and on the interaction between the artistic and scientific aspects of the endeavor.
Covers design and interfacing of computer input and output systems. Standard (mouse, keyboard, joystick, etc.) and new (head trackers, music controllers, gloves, etc.) input devices. Signal processing, feature extraction, and mapping schemes will also be covered. Output mediums will include graphics, music, and 3-D sound. Hands-on laboratories and independent projects, which can potentially continue as independent research in following terms.
This seminar surveys the influence that technology has had on music throughout history. It might seem at first glance that the invention of technologies such as the turntable, the guitar amplifier, or electronic (analog or digital) synthesizer have had the most profound effects on music and music making. But the use of a stone tool to chip a hole into a bone could have been an even more important event in the musical life of that ancient flute maker and others. The piano, the violin, percussion instruments, and even the voice have all felt the influence of technology in more or less influential ways. We will, of course, look at what the turntable, amplification, and computers have done to change music (and vice versa), but we will also look critically at other "technologies." One example of this is a survey of the history of the violin and other bowed instruments. Initially the technology was that of the crafts of woodworking, making strings, making bows, etc. These are all still studied and argued about today. Amplification brought us new twists on the violin, but how new were they in actual use and practice? Were the "new" electric violin players mostly just frustrated electric guitarists? Digital sensor and synthesis technology has given us even more to deal with in the continuing evolution of the violin.
This is a graduate seminar covering the design of, and issues involved in, Pervasive Information Appliances. Lectures, labs, and student projects will deal with wireless, video, audio, graphics, hci, biometrics, storage, security, power, embedded processors, etc.
An introduction to the principles of digital audio (sampling, signal processing, synthesis, programming, software systems), MIDI, and the makeup of the contemporary digital music studio. As necessary, principles of acoustics and psychoacoustics will be covered. This project-oriented course should enable the student to work creatively with digital audio.
A composition workshop class, focusing on the creation of new music and/or instruments that explore the possibilities of current technologies. Focus will be on the students creative work, culminating in a semester-end concert presentation.
A consideration of the more elusive but fundamental aspects of composition: continuity; change--goal-directed, circular, sudden; tempo and texture; rhythms of harmony, contrapuntal interaction, succession of ideas, and surface attack; the "extra-musical;" contextual logic and ad hoc systems; and sonic image, form, idea.