MPAME-UE.1405.1.001 Course SyllabusPage 1
Department of Music and Performing Arts Professions
MPAME-UE.1405.1.001
Music Technology for Music Education
Course Syllabus
(Last updated: November 8, 2011)
CATALOG DESCRIPTION
This course is a friendly introduction to digital music, digital audio, recording & mastering, notation, multimedia processing, and internet technology for the undergraduates who are looking for a practicum course in this area. It offers a great opportunity for students to develop their digital world in music and the arts, and to realize their creativities for various electronic and internet platforms. This course is also to prepare those students who are new to NYU for getting familiar with the technology resources offered and around NYU campus, and help them to develop their electronic portfolio from the beginning of their studies. Prior experience of background in technology is not required. Students will have a comprehensive exposure to multimedia programs and apps, including (but not limited to) digital imaging, audio, video, and internet applications, web authoring, HTML, NYU Files 2.0, podcasting, music notation and recording programs, as well as digital video and movie making.
COURSE OBJECTIVES
- Students will be able to create and continue to develop their electronic portfolios.
- Students will be able to create a website and apply current technology to the presentation of educational materials on the website.
- Students will be able to use technology to collect, prepare, convert, and modify specific digital media for music education materials, such as texts, images, audio, video, scrolls, apps, programs, archives(recordings), etc.
- Students will be able to use music notation programs to assist their music teaching and composition, as well as music publishing and online presentations.
- Students will be able to setup recording environment for live music, as well as operate live audio mixing and amplification.
- Students will be able to plan and develop lesson plans with computers and technology.
- Students will be able to identify programs to create a presentation of an interactive music learning experience.
REQUIRED TEXT OR SOURCE MATERIALS
There is no required book for this course. Readings and assignments will be provided to students via internet on Blackboard. Students will also be expected to source – and share with their classmates – much of their own reading material and findings from periodicals and internet resources.
COURSE CONTENTS
Week 1
- Course Introduction
- NYU Home & Blackboard
- NYU Files 2.0 Server and initial activation
- Website Establishment (NYU Files 2.0)
- Web Hosting Servers (NYU ITS)
- Software and Applications (WWW Authoring and Music Teaching/Technology tools)
- Internet, WWW, and Computers for Music Education
- Technology Facilities and Resources on NYU Campus
Week 2
- Understanding Files and Folders, and Web Hosting Server Database Structure
- Accessing Web Hosting Server: File Transfer Protocol
- Accessing Web Content through Browsers: Hyper-Text Transfer Protocol
- HTML and Simple Text Editors
- HTML I
- Basic HTML Syntax
- Tags and Attributes I
- Making Links as Anchor
- Internal Links
- External Links
- Email Links
- Basic Page Formatting
- Posting Images and Embedding Audios
Week 3
- HTML II
- Tags and Attributes II
- Building up Websites (Multiple Pages)
- Web Colors and Hexadecimal System
- Create Pages and Internal Links
Week 4
- Digital Imaging I
- Understanding Digital Imaging and Formats
- Digital Imaging Editing Programs
- Pixels, Resolutions, and Resizing
- Colors, Color Table, Color Mode, Levels, Basic Adjustments
- Filters
- Online Web-based Image Editing Sites and Resources
Week 5
- Digital Audio I
- Understanding Popular Digital Audio File Formats (AIFF, WAV, AU, MP3, M4A, AAC, etc.)
- Understanding Sampling Frequency and Bit-Rate
- Extracting Digital Audio Files from Music/Audio CD
- Converting Digital Audio Files
- Posting Digital Audio on Web Pages.
- Introduction to Audacity
- Control Toolbar
- Mixer Toolbar
- Meter Toolbar
- Edit Toolbar
- Basic Editing (Cut, Copy, Delete, Mute, Paste, etc.)
- Basic Sound Effects (Fade-In/Out, Normalize, etc.)
Week 6
- Movie Authoring I
- Introduction to iMovie
- Ken Burns Effect, Fitting, and Cropping
- Movie Clips Sequencing and Editing
- Video Effects and Transitions
- Text, Title, End-Credits, and Themes
- Adding Audio and Music to the Movie
- Exporting (Sharing) Movies
- Popular Movie File Formats and Web Posting
Week 7
- Movie Authoring II
- Introduction to Windows Movie Maker
- Media Components Collection and Preparation for Movie Making
- Movie Clips Sequencing and Editing
- Video Effects and Transitions
- Text, Title, End-Credits, and Themes
- Adding Audio and Music to the Movie
- Exporting (Sharing) Movies
- Popular Movie File Formats and Web Posting
- Internet Video Downloading and Video File Converting
- PodCasting and Its Application for Music Education
Week 8
- Digital Audio II
- Detailed Audacity Operation
- Track Pop-Down Menu
- Split Stereo Tracks
- Audio Spatial Arrangement
- New Audio Tracks
- Generate Tones and Silence
- Advance Digital Sound Effects
- Mixed Down to Stereo
- Exporting Sound Files
- Desktop Recording Techniques
- Desktop Recording Programs
- Audacity Recording from Stereo Out/Mix
- Audacity Recording from Line-In
- Screen Shot (Desktop Visual Recording Techniques)
- Music Concrete Project
- Music Concrete Background and History
- Collecting Source Audio
- Modifying and Treating Audio
- Multi-Track Audio/Music Composition
Week 9
- Notation
- Introduction to Music Notation Programs
- Notation Program Setup and Inputting Notes
- Music Score Editing
- Music Score Printing and Exporting for Different Media and Resolutions
- Music Notation Web Presentation for Music Education
Week 10
- Recording Technology
- Understanding Music Technology Terminology
- Understanding Microphones, Cables, Mixing Boards, Recording Media and Devices, Digital Hard-Drive Recording, Audacity Recording, etc.
- Basic Microphone Setup and Arrangement Techniques for Voices and Musical Instruments
- Digital Recording Mastering and Sharing
Week 11
- GIF Animation
- Introduction to GIF Animation Programs
- Indexing Color and Color Table
- Animation and Transparency
- Inter-Frame Delay and Looping for Timing Control
- Transitions
- Adobe Photoshop for GIF Animation and Beyond
- Adobe Photoshop for Creating GIF Animation
- Color Modes
- Layers
- Output for Web and Devices
- Online GIF Animators and Resources
Week 12
- Basic Web Design Concept and Philosophy
- Tables and Layers
- CSS and PHP
- Themes, Colors, Styles, and Their Implications
- Website Navigation
- Music and Multimedia Presentation on the Web
- Introduction to Important Web Authoring Tools and Applications
- Adobe Dreamweaver
- Adobe Flash
Week 13
- Introduction to MIDI Sequencing Programs
- Introduction to Virtual Digital Recording Studios
- Introduction to Multimedia Live Performance & Controlling Programs
- Introduction to Mobile Technology and Applications
- iPhone (SmartPhone) and Apps in Learning Technology
- iPad (Tablet) and Apps in Learning Technology
- Distributing Computing Technology and Environment and Its Impacts on Music Education
- Introduction to Network Learning Technology and Its Applications to Music Education
Week 14
- Electronic Portfolio
- Discussion and Review
- Proposal of the Final Projects
- Comments and Suggestions
- Debugging
- Q&As
- Open Discussion
Week 15
- Final Project Presentation
- All Course Works and Assignment Due
ASSIGNMENTS AND ASSESSMENT
- Each week will assign task-specific exercises based on the contents distributed in the class.
- A final project and presentation
- Q&A in the form of email to expect students to research and answer
- Students will be evaluated on:
- weekly assignments: 40%
- attendance, class participation in questions and discussions: 40%
- final project and presentation (including e-mail questions and replies): 20%
- All assignments must be posted on the website and/or NYU Blackboard.
BIBLIOGRAPHY
Alten, Stanley R. Audio In Media. Fourth Ed. Belmont, California: Wadsworth Publishing Company, 1994.
Ambardar, Ashok. Analog and Digital Signal Processing. Boston: PWS Publishing Company, 1995.
Armstrong, Carmen L. Designing Assessment In Art. Reston, Va.: National Art Education Association, 1994.
Aronoff, Frances Webber. Music and Young Children.Turning Wheel Press, NY. 1979.
Assayag, Gérard, Camilo Rueda, Mikael Laurson, Carlos Agon, and Olivier Delerue. “Computer-Assisted Composition at IRCAM: From PatchWork to OpenMusic.”Computer Music Journal. 23.3 (1999): 59-72.
Atkinson, R. C. Computer Assisted Instruction.1969. - X-31-016131-1
Austin, Larry, and Rodney Waschka II. “Computer Music for Compact Disc: Composition, Production, Audience.”Computer Music Journal. 20.2 (1996): 17-27.
Avital, Samuel. Mime and Beyond: The Silent Outcry. Studio City, CA: Players Press, 1990.
Bailey, Nick, and David Cooper. “Perceptually Smooth Timbral Guides by State-Space Analysis of Phase-Vocoder Parameters.”Computer Music Journal. 24.1 (2000): 32-42.
Balaban, Mira. “The Music Structures Approach to Knowledge Representation for Music Processing.”Computer Music Journal. 20.2 (1996): 96-111.
Bamberger, Jeanne. The Mind Behind the Musical Ear: How Children Develop Musical Intelligence. Cambridge, MA: Harvard University Press, 1995.
Barrett, Natacha. “Little Animals: Compositional Structuring Processes.”Computer Music Journal. 23.2 (1999): 11-18.
Bates, A. W. “Computer assisted learning or communications : which way for information technology in distance education?” Milton Keynes : Open University IET, 1986. - (IET paper on broadcasting ; no.250). - x-31-108466-3
Beethoven, J. The Music Connection.Morristown, NJ: Silver Burdette Ginn. 1995.
Begault, Durand R. 3D Sound. For Virtual Reality and Multimedia. Cambridge: Academic Press, 1994.
Bell G. “Project Zero: Nelson Goodman's Legacy In Arts Education.”J AESTHET ART CRITIC 58 (3): 245-249 SUM, 2000.
Benade, Arthur H. Fundamentals of Music Acoustics. Second, Revised Ed. New York: Dover Publications, 1990.
Bergethon, B., Boardman, E. & Montgomery, J. Musical Growth in the Elementary School. New York: Harcourt Brace. 1986.
Besenjak, Cheryl. Copyright Plain and SimpleSecond Ed. Career Press, Inc. 2000.
Blandford, A. “Design, Decisions And Dialogue.” n.p., 1991. Thesis (Ph.D.)-Open University. Author no.M7033956. BLDSC no.DX95809. - x-31-114667-7
Bond, J. Share the Music. New York: MacMillan/McGraw-Hill School Publishing. 1995
Bowers, Michael. Pro CSS and HTML Design Patters. Berkeley, CA: Apress 2007.
Braut, Christian. The Musician's Guide to MIDI. Alameda, CA: Sybex, 1994.
Bray, David: “CD-ROM in Music Education.” British Journal of Music Education 14:2 p.137-142. July, 1997.
Bruner, Jerome. Actual Minds, Possible Worlds. Cambridge, MA: Harvard University Press, 1986.
Burton, Anthony R, and Tanya Vladimirova. “Generation of Musical Sequences with Genetic Techniques.”Computer Music Journal. 23.4 (1999): 59-73.
Campbell, P.S., Brabson, E.M. & Tucker, J. Roots And Branches: A Legacy Of Multicultural Music For Children. Danbury, CT: World Music Press. 1994.
Camurri., Antonio, Shuji Hashimoto, Matteo Ricchetti, Andrea Ricci, Kenji Suzuki, Riccardo Trocca, and Gualtiero Volpe. “EyesWeb: Toward Gesture and Affect Recognition in Interactive Dance and Music Systems.”Computer Music Journal. 24.1 (2000): 57-69.
Castro, Elizabeth. Visual Quickstart Guide: HTML, XHTML & CSS Sixth Ed. Berkeley, CA: Peachpit Press, 2007.
Cemgil, Ali Taylan, Peter Desain, and Bert Kappen. “Rhythm Quantization for Transcription.”Computer Music Journal. 24.2 (2000): 60-76.
Cogan, Robert and Pozzi Escot. Sonic Design: The Nature of Sound and Music. Englewood Cliffs, NJ: Prentice-Hall, 1976.
Cook, Wayne D. Center Stage: A Curriculum for the Performing Arts. 2 vols.: K-3, 4-6. Palo Alto, CA: Seymour, 1993.
Cope, David. Techniques of the Contemporary Composers. New York: Schirmer Books, 1997.
Csikszentmihalyi, Mihaly. Changing the World: A Framework for the Study of Creativity. Westport, CT: Praeger, 1994.
Dannenberg, Roger B. “A Perspective on Computer Music.”Computer Music Journal. 20.1 (1996): 52-56.
Davis, Don, and Carolyn Davis. Sound System Engineering. Second Ed. Boston: Focal Press, 1997.
De Poli, Giovanni. “In Search of New Sounds.”Computer Music Journal. 20.2 (1996): 39-43.
DeLong, Patrick D.Art And Music In The Humanities. Englewood Cliffs, N.J., Prentice-Hall. 1966.
Deutsch, Diana. Ed. The Psychology of Music. Second Ed. London: Academic Press, 1999.
Dickreiter, Michael. Tonmeister Technology. Recording Environments, Sound Sources and Microphone Techniques. New York: Temmer Enterprises, 1989.
Dixon, Steve. Digital Performance: A History of New Media in Theatre, Dance, Performance Art, and Installation. Cambridge, MA: MIT Press, 2007.
Dodge, Charles and Thomas A. Jerse. Computer Music, Synthesis, Composition, and Performance. New York: Schirmer Books, 1985.
Dooling, Robert J. and Stewart H. Hulse. Ed. The Comparative Psychology of Audition: Perceiving Complex Sounds. Hillsdale: Lawrence Erlbaum Associates, Publishers, 1989.
Eisner, Elliot W. Educating Artistic Vision. New York, Macmillan. 1972.
Ferrara, Lawrence. Philosophy and the Analysis of Music, Bridges to Musical Sound, Form, and Reference. New York: Greenwood Press, 1991.
Fishman, Stephen.The Public Domain:How to Find and Use Copyright-Free Writings, Music, Art and More. Nolo.com. 2001.
Hofstetter, Fred T. Computer Literacy for Musicians. Englewood Cliffs NJ: Prentice Hall, 1988.
Keiner, Lenore. The Creative Classroom. Westport, CT: Heinemann, 1993.
Kendall, Gary S. "A 3-D Sound Primer: Directional Hearing and Stereo Reproduction." Computer Music Journal. 19.4 (1995): 23-46.
Kientzle, Tim. A Programmer's Guide to Sound. Reading, MA: Addison Wesley Longman, 1998.
Kimberlin, Cynthia Tse and Akin Euba, Ed. Intercultural Music Volume 1. Bayreuth, 1995.
Kostka, Stefan. Materials and Techniques of Twentieth-Century Music. Second Ed. Englewood Cliff, NJ: Prentice-Hall, 1999.
Lesbros, Vincent. “From Image to Sounds, A Dual Representation.”Computer Music Journal. 20.3 (1996): 59-69.
Lyons, Ian. Computer Darkroom. Oct. 2000. <
Mark, M. L. A History Of American Music Education. New York: Schirmer Books. 1992.
---. Contemporary Music Education. (Second Ed.). New York: Schirmer Books. 1986.
---. Source Readings In Music Education History. New York: Schirmer Books. 1982.
Marmour, E. & Solie, R.A. (Eds.). Explorations In Music, The Arts, And Ideas: Essays In Honor Of Leonard B. Meyer. Stuyvesant, NY: Pendragon Press. 1988.
McClelland, Deke, and Katrin Eismann. Digital Photography. Industrial-Strength Techniques. Berkeley: Peachpit Press, 1999.
McNeil, Patrick. The Web Designer’s Idea Book Vol 1 & 2. Cincinnati, Ohio: How Books, 2010.
Mialaret, G. The Psychology of the Use of Audio-Visual Aids in Primary Education. New York: Unesco Publications Center, 1966.
Moore, F. Richard. Elements of Computer Music. Englewood Cliffs, NJ: Prenticall-Hall, 1990.
---. “Dreams of Computer Music -- Then and Now.”Computer Music Journal. 20.1 (1996): 25-41.
Muffoletto, R. and Knupfer, N.N. (Eds). Computers in Education: Social, Political, and Historical Perspectives. Cresskill, NJ: Hampton Press. 1995.
National Art Education Association. Art Education: Content And Practice In A Postmodern Era. Reston, Va. : National Art Education Association, 1997.
National Education Association, Office of Higher Education Information Technology: A Road to the Future. Washington, DC: National Education Association. 2001.
Negrino, Tom and Dori Smith. Visual Quickstart Guide: Dreamweaver CS5. Berkeley, CA: Peachpit Press, 2010.
Papert, S. Mindstorms: Children, Computers, And Powerful Ideas. New York: Basic Books. 1980.
Polsky, Milton. Let’s Improvise! New York: Applause, 1998.
Roads, Curtis. Ed. The Music Machine. Cambridge: The MIT Press, 1989.
Robbins, Jennifer Niederst. Learning Web Design – A Beginner’s Guild to (x)html, Style Sheets, and Web Graphics. Sebastopol, CA: O’Reilly Media Inc., 2007
Rossing, Thomas D. The Science of Sound. Second Ed. New York: Addison-Wesley Publishing Company, 1990.
Rubin, David M. The Desktop Musician. Berkeley, California: Osborne McGraw-Hill, 1995.
Rudolph, Thomas E. Teaching Music With Technology. GIA Publications, Inc. Chicago, IL. 1996.
Scheirer, Eric D., and Barry L. Vercoe. "SAOL: The MPEG-4 Structured Audio Orchestra Language." Computer Music Journal. 23.2 (1999): 31-51.
Serafine, M. L. Music As Cognition: The Development Of Thought In Sound. New York: Columbia University Press. 1987.
Sluchin, Benny. “A Computer-Assisted Version of Stockhausen's Solo for a Melody Instrument with Feedback.”Computer Music Journal. 24.2 (2000): 39-46.
Toiviainen, Petri. “An Interactive MIDI Accompanist.”Computer Music Journal. 22.4 (1998): 63-75.
Van Duyne, Kouglas, James A. Landay, and Jason I. Hong. The Design of Sites: Patterns for Creating Winning Web sites Second Edition. Englewood Cliffs NJ: Prentice Hall, 2007.
Vantomme, Jason D. “Score Following by Temporal Pattern.”Computer Music Journal. 19.3 (1995): 50-59.
Ullman Larry. Visual Quickstart Guide: PHP for the World Wide Web Second Edition. Berkeley, CA: Peachpit Press, 2004.
Ulrich, Katherine. Visual Quickstart Guide: Flash Professional CS5. Berkeley, CA: Peachpit Press, 2011.
U.S. Congress, Office of Technology Assessment. Teachers and Technology: Making the Connection, OTA-EHR-616, Washington, DC: U.S. Government Printing Office. (April, 1995).
Walls, Kimberly C. “Music Performance and Learning: The Impact of Digital Technology.” Psychomusicology - A Journal of Research in Music Cognition :16 p.68-76. Spring-Fall, 1997.
Watkinson, John. The Art of Digital Audio. Second Ed. Boston: Focal Press, 1994.
William, David Brian and Peter Richard Webster. Experiencing Music Technology: Software, Data and Hardware. Second Ed. New York: Schirmer Books, 1999.
Woolman, Matt. Sonic Graphics: Seeing Sound. Washington, DC: Rizzoli, 2000.
Wöhrmann, Rolf, and Guillaume Ballet. “Design and Architecture of Distributed Sound Processing and Database Systems for Web-Based Computer Music Applications.”Computer Music Journal. 23.3 (1999): 73-84.