Syllabi

Drum Programming in Electronic Music (2018)

Drum Programming in Electronic Music (2018)

Electronic drum programming exists in nearly every genre of modern electronic music. This lecture showcases musics that foreground virtuosic use of drum programming technologies (synth drums, drum machines, software drum kits) and guides students through drum programming on their own, starting with simple sequencing onto “humanizing” drum programming, and lastly using post-programming effects.

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Interactive Digital Electronics Workshop (2018)

Interactive Digital Electronics Workshop (2018)

This webpage introduces a multi-layer approach to creating interactive digital electronics (and includes an interactive electronics sandbox system programmed in Max), discusses some experiences I have had creating interactive digital systems for use in studio/performance settings, and includes a list of human and software resources for student’s further perusal.

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Processing Workshop (2016-2018)

Processing Workshop (2016-2018)

Processing is an "open source programming environment for teaching computational design and sketching interactive media software" developed by Ben Fry and Casey Reas.

This educational webpage introduces visitors to Processing fundamentals, some more advanced functionality, and lastly includes a set of high quality code templates created by myself to get students quickly up and running with several different archetypal uses of Processing: sound/video analysis, using shaders, connecting Processing to other programs with OSC, and object oriented programming in Processing.

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Audio-Visual Composition (2017)

Audio-Visual Composition (2017)

This course explores the ways in which sound interacts with video. We will investigate this interaction by first discussing the history and contexts of electronic sound, video, and their relationship, establishing (or refreshing) audio and video editing skills, and then getting hands-on experience through creative projects. Projects include composing sound design for film, creating video art (that incorporates video-recorded and/or animated materials), and designing real-time interactive media projects. The target student of this course is a musician interested in expanding their relationship to video and multimedia. No experience with audio or video technologies is required, although it is welcome.

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Musicianship (2017)

Musicianship (2017)

This lab courses give practical experience with many aspects of musical perception, performance, and creation. These will include sight-reading and sight-singing; dictation of melody, rhythm, and harmony; aural identification of intervals, chords, and rhythmic patterns; and exercises in musical memory and improvisation. Students entering the sequence take a test to determine the appropriate level of their first course. At the end of each course, students take a placement test to determine whether they may enter a higher level course. Courses may be repeated for credit, but each course may be counted toward the major only once.

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Producer as Composer (2016)

Producer as Composer (2016)

This seminar examines the increasingly creative role of production in recorded music over the last 50 years. Materials, topics and themes include: (1) survey and analysis of key recordings; (2) theoretical and practical understanding of technologies used in recording and production; (3) developments in music production (such as the naturalization of 'illusion') in the context of broader technological and cultural developments; and (4) creative studio projects. Enrollment is by permission of the instructor.

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Computer Sound Generation and Spatialization (2015)

Computer Sound Generation and Spatialization (2015)

Computer Sound Generation and Spatalization is a course in digital composition. You will learn about digital signal processing and how to make and transform your own sounds, as well as those of the external world. You will learn about compositional design and acoustic perception, especially in relation to electroacoustic media. And, we will explore the role of spatialization as a compositional parameter in a surround-sound environment. We will begin with an open source, command-line program called RTcmix (you can download it at RTcmix.org). This program encourages a flexible approach that is complementary to traditional DAW programs. And, there is an RTcmix object that can be used inside the Max-MSP for those of you familiar with that program. You will also have the opportunity to create music using a variety of DAW programs, depending on particular compositional goals. You will have plenty of hands-on experience, both in the required lab (you must register for this as well as the course) and in our class meetings. The course is project based, ranging from the use of digital sound for arranging pre-composed music, to working with a variety of genres, to creating an original final project that will be considered for concert presentation.

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Technosonics (2014)

Technosonics (2014)

Technosonics explores the history, theory and practice of digital music and sound art in the 20th and 21st centuries. Students gain insight into a variety of tools and techniques that have grown and expanded to infuse music of many genres and traditions. From experimental computer music, ambient and dance music, sound art, and multimedia digital tools have made a major impact in the world of music. This course offers a wide view of computer music as “technosonics”. In addition to learning theory and history, students will compose using digital tools for musical creation. No previous music experience is required.

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