Spring 2019
Wednesday 9:00-11:50
CPMC 231 ndiels(at)ucsd(dot)edu
This is an overall introduction to using computers and electronics in music composition. All classes are supported by relevant and eclectic historical background, and are divided into lecture and practice. Each class focuses on a single general topic in computer music. The class begins with a history lecture on the specified topic, and proceeds to examine works centered around that topic. There will be suggested reading and weekly assignments.
Topics include elementary and advanced sampling techniques, basic digital signal processing, methods of synthesis, human-computer interface, hand-built circuits, and experimental video. By the end of the quarter, the student should have a comfortable grasp of the fundamental topics covered in the class. The primary software taught in this course is Max/MSP. This course culminates in a final project, which includes both a written (text) and creative (musical) component. The musical component must be done in Max/MSP.
Syllabus
Week 1 : Class Intro/History of Electronic Instruments/Basics
Week 2 : Recording+Sampling
Week 3 : Synthesis
Week 4 : DSP
Week 5 : Amplification/Youth Culture
Week 6 : Human-computer interface 1
Week 7 : Video 1
Week 8 : Video 2
Week 9 : Final Projects Presentation
Week 10 : No Class
Final Project
Invent a historical character that is based on documented history. Consider what element of history the character is filling out-- what is under-represented or completely ommitted from our current history?
Part 1: Write a short (3-5 pages) biography about the character, followed by a description of which elements were manufactured by you and which are drawn from current documentation. Support your character's biography with no less than 4 unique references. Part 2: Create a composition or instrument that was composed or created by your character. You will present this character, and their music, in a 30-minute presentation in week 9 (May 29). The musical component must be done in Max/MSP.
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Class 1: Electronic Instrument History/Intro to Audio/Noise
Links
Download Sample
Electronic Musical Instrument Resource : 120years.net
Scientific American article on the Telharmonium (1907)
Hermann von Helmholtz:
On The Sensations of Tone as a Physiological Basis for the Theory of Music
Ryan Maguire's mp3 compression art project : The Ghost in the mp3
Patches from class
Assignment
Part 1: Make a patch that recreates Steve Reich's Pendulum Music.
Write out the steps and then execute them in a patch
Part 2: Modify the patch to have each 'microphone' activate a different portion of a sample, or each microphone can activate its own sample.
Part 3: Modify the patch to function as an instrument that you can either control with keys on the keyboard, or set a process into motion. Utilize your compositional tools to create something that interests you. Extra bonus: Recreate the pendulum motion more accurately (using physics).
Homework helper patch (for part 1)
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Class 2: Recording/Sampling
Links
Scientific American articles on Edison: 1877, 1878
Yasunao Tone : mp3 Deviation #6
Solo for a Wounded CD (part 2)
Everything is a Remix (remastered)
Carter Family Can't Feel at Home
Woody Guthrie I Ain't Got No Home Anymore
First tape piece : Halim El-Dabh The Expression of Zaar
John Cage : Williams Mix, Tom Erbe remix
The Flying Saucer
James Tenney : Collage #1 (Blue Suede)
KLF : Whitney Joins the JAMS
John Oswald : Plunderphonics
Patches from class 2 (recording/sampling)
Samples for Assignment
Public Enemy Fight The Power List of Samples and timings
Assignment
Assignment:
Create a sampler instrument using either the samples I provide, or your own. Use at least 8 samples. Record a 1-minute track using only your samples.
Extra credit option*:
Choose one or two songs. Inspired by John Oswald’s Plunderphonics, create a patch that will transform this song into an alternate version of itself, or collage the two songs into a new product. Use no other sonic material.
*You don't actually get extra credit.
Class 3: Recording/Sampling (II)
Links
The Jubalaires: Preacher and the Bear || Sugarhill Gang: Rapper's Delight
Bill Buchanan/Dickie Goodman: The Flying Saucer
Object Collection: It's All True
William Basinski: Disintegration Tape Loops
James Tenney: Blue Suede
Public Enemy: It Takes a Nation of Millions to Hold Us Back
KLF: ABBA (The Queen and I)
Vaporwave: Macintosh Plus
Girl Talk: Hands In The Air
Natacha: Self-Portrait
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Class 4: Synthesis
Links
Percy Grainger : Free Music Machine
Electronic Music in South America : Fondation Langlois
RCA Demo tapes
Article on and examples of early speech synthesis at Bell Labs
Fun speech synthesis: Utterance Robot , Euphonia
Wendy Carlos: Switched on Bach
Wendy Carlos: Clockwork Orange Soundtrack (13:41)
Suzanne Ciani: GE commercial, Coca-Cola Pop & Pour
Suzanne Ciani: Buchla concerts (1975)
Iannix (open-source web tool based on Xenakis' Upic): Iannix
George Lewis: Voyager: Interactive Trio
Loud Objects
Reed Ghazala (circuit-bending)
Patches from class 4 (synthesis) including canon helper
Assignment
Create a patch of 5 distinct synthesized sounds, with 10 presets.
Create a canon using these 10 sounds— make a sequence and then repeat the sequence at a particular starting point.
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Class 5: Delay Lines and poly~
Max patches
Patches from class 5
Assignment
Create a patch that uses delay lines to do the following:
(1) Constantly loop a short segment of audio, while simultaneously
(2) Playing a different sample at 0.25x the pitch.
(3) Oscillate the sample from (2) between 0.25x the pitch and 2x the pitch, gradually increasing the rate of oscillation until it matches the rhythm of your looping sample.
Class 6: Delay Lines (2)
Max patches
Pitch Shifter
Delays
Pollies
Class 7: Jitter
Max patches
Class 8: OpenGl intro/random stuff
Max patches
Open GL
Picture to sound
Class 9: Final Projects
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