Brandeis University Fall 2017
Intro to Electro-Acoustic Music
MUS107A
Class Times: Tuesday 9:30 am – 10:50 am
Instructor: Davide Ianni ()
Office Hours: by appointment on Tuesday.
Section Times: TBD on the first week of classes.
Teaching Assistant: Brian Sears ()
Office Hours: by appointment.
Course description:
This course seeks to give the students the aesthetic and technical knowledge needed to complete individual, creative work in composition using electronic media alone. We will make use of computers, recording equipment, digital editing software, and sound analysis software to develop basic skills in synthesis, sampling, digital recording. Relevant aspects of acoustic and electronic theory will be discussed. An important component of the course will also be building the students’ knowledge of the relevant repertoire of compositions from the traditions of musique concrète, acousmatic, mixed and live-electronic music. We will work to develop vocabulary and strategies for discussing and analyzing these repertoires. Everyone will be expected to do both theoretical and creative work and all students will gain hands-on experience working with the equipment.
In addition to the 2 hours of class time students must also meet with the TA in small groups for an additional hour each week. These sections are fundamental for developing software knowledge, compositional and critique skills as well as fulfill the class requirements.
Materials:
A sizable USB drive (minimum 4G) is required for storing and exporting your files and projects.
Grading:
Grades will be based on attendance, participation and quizzes/homework assignments (45%), midterm project (25%), and final project (30%).
Attendance:
For every absence the student has to provide reasonable justification in advance or within a reasonable period of time (24hrs). Unjustified absences or numerous absences (even with justification) will negatively impact the final grade.
Participation:
Participation is intended as measure of the quality, preparedness and thoughtfulness of class interaction as well as an ability to demonstrate retention of previously discussed material.
Homework assignments:
Homework assignments will include: learning software, readings on the aesthetics and compositional approaches of electronic music, acoustics and electro-acoustic theory. Listening and written analysis of electro-acoustics repertoire.
Midterm project.
For undergraduate students: 2 to 4 minute multi-channel piece.
For graduate students: 3 to 5 multi-channel.
Final project.
For undergraduate students: 3 to 5 minute multi-channel piece.
For graduate students: 4 to 6 minute multi-channel piece.
The final project will be performed in a concert format, in one of the available spaces in the school of music. Students will be required to help with the set-up that morning and break-down after the concert and must be available for rehearsals during the afternoon.
In addition to class and section time each student should expect to spend an average of 1-3 hours of personal work in the studio each week and more time as the final project deadline approaches. Signup sheets will be posted in the hallway outside the studios.
Disabilities:
If you are a student with a documented disability on record at Brandeis University and wish to have a reasonable accommodation made for you in this class, please see me immediately
Academic Integrity:
You are expected to be honest in all of your academic work. Please consult Brandeis University Rights and Responsibilities for all policies and procedures related to academic integrity. Students may be required to submit work to TurnItIn.com software to verify originality. Allegations of alleged academic dishonesty will be forwarded to the Director of Academic Integrity. Sanctions for academic dishonesty can include failing grades and/or suspension from the university. Citation and research assistance can be found at LTS - Library guides.
Syllabus
Week 1,
Fri. (Sept. 1st)
- Class members introductions.
- Syllabus explanation class aims and activities.
- Listening, Mortus Plango Vivo Voco by Jonathan Harvey.
Section:
- Intro to Electronic Music Studio Setup.
Readings (Online course Site on Latte):
- Music and the New Audio Culture – excerpts
Week 2,
Tue. (Sept. 5th)
- A brief historical overview on Electronic Music
- Review and discussion of Music and the New Audio Culture
- Listen to; 5 Etudes de Bruits by Pierre Schaeffer (1950)
Gesang der Jünglinge K. Stockhausen (1955)
Poème Électronique by Edgard Varèse. (1958)
Section:
- Intro to Electronic Music Studio Setup. CPU, Audio Interface, I/O connections, trouble shooting. Intro to Audio Editing Software.
Readings (Online course Site on Latte):
- Paris and Music Concrète - (Electronic and Computer Music by Peter Manning)
- Cologne and Elektronische Musik - (Electronic and Computer Music by Peter Manning)
- Pierre Schaeffer, “Acousmatics”
Fri. (Sept. 8th)
- Review of readings the previous materials, and drawing conclusion.
- Physical of Sound, Acoustics and Psychoacoustic.
Section:
- Quiz on studio set up. Basic editing techniques.
- HW; Ordering counting at regular BPM.
Reading:
- Audio sampling material handouts.
- The acoustics and psychoacoustics of music.
Week 3
Tue. (Sept. 12th)
- Audio Sampling; Sound as a physical phenomenon, amplitude and frequency. Waveform representation, amplitude-time domain, and its envelope. Sampling.
Section:
- Compose a small musical gesture of 1minute length, using simple sound editing software (Sound Forge).
Fri. (Sept. 15th)
- In class review and comments on small gesture project.
- Audio Sampling; Classifying sound, planning compositional syntax.
Section:
- Intro to sound processing tools in Sound Forge and Logic Pro or DAW of choice.
Reading:
- Substance and content in new music.
Week 4
Tue. (Sept. 19th)
- Introduction to multi-track environment and its possibilities.
- In class listening and analysis of Mortus Plango Vivo Voco
- Listen to : Paysages Intérieurs by Stephanie Roy (1988) 13’
Figuras Flamencas by Mario Verandi (1995) 13’
Section:
- Introduction to recording techniques and equipment. Start collecting sounds.
- HW: prepare a detailed analysis and formal scheme of either piece: Paysages Intérieurs or Figuras Flamencas.
Fri. (Sept. 22nd) – no class.
Section:
- Cleaning, editing and classifying your sounds. Help on composition plans.
Week 5
Tue. (Sept. 26th)
- In class review and comments on analysis project.
- DAW multi-track environment, layering, sound processing options.
- Listen to: The Flypaper, by Steven Kuazo Takasughi
Section:
- Cleaning, editing and classifying your sounds. Help on composition plans
- HW: prepare a detailed analysis of The Flypaper.
Fri. (Sept. 29th)
- Sound Processing, Automation vs File Editing.
- Sound Processing; Delays
- Approaches on formal planning for Midterm project
Section:
- In depth presentation of DAW multi-track environments. Help on composition plans.
Reading:
- Hand out on Delays
Week 6
Tue. (Oct. 3rd) - Thursday schedule.
Fri. (Oct. 6th)
- Final remarks on Delays.
- Sound Processing; Filters, Parametric Eqs, the Q factor.
Section:
- Cleaning, editing and classifying your sounds. Help on composition plans
Reading:
- Hand out on Filters
Week 7
Tue. (Oct. 10th)
- Final remarks on Filters.
- Amplitude vs db scale; Compressors, Limiters, Expanders, Gates
Section:
- Help with midterm plans
Reading:
- Hand out on Sound Compression
Fri. (Oct. 13th)
- Sonograms in AudioSculpt or Spear; the idea of sonic representations.
Week 8
Tue. (Oct. 17th)
- In-class discussion and problem solving on midterm projects. Review of software tool kit. Mixing and Mastering
Section:
- Help with midterm plans
Fri. (Oct. 20th)
- In-class discussion and problem solving on midterm projects. Review of software tool kit. Mixing and Mastering
Section:
- Help with midterm plans
Week 9
Tue. (Oct. 24th)
- Midterm project presentation
Fri. (Oct. 27th)
- Midterm project presentation
Week 10
Tue. (Oct. 31st)
- Timbre and its effect on sonic organization.
- Additive and subtractive synthesis.
Section:
- Adjustments and mixing and mastering of the midterm project
Fri. (Nov. 3rd)
- Granular Synthesis
- Listen to: Concrete PH by Yannis Xenakis
Section:
- Granular Synthesis.
- HW mixing and mastering of the midterm project are due.
Readings:
- Tristan Murail, "The Revolution of Complex Sounds"
Week 11
Tue. (Nov. 7th) ;
- physical modeling, analysis/resynthesis
- Introduction to FFT’s and sonogram analysis;
Section:
- Review of the FFT,s sound analysis and sound processing possibilities
Fri. (Nov. 10th)
- More on physical modeling, analysis/resynthesis
- Sound processing in the frequency domain.
- Final Project presentation.
Section:
- Sound analysis and sound processing in the frequency domain.
Week 12
Tue. (Nov. 14th)
- Show and Tell: Presentations on Final Project sounds and plans.
Section:
- Help with planning of Final Project.
Fri. (Nov. 17th
- Show and Tell: Presentations on Final Project sounds and plans.
Section:
- Help with planning of Final Project.
Week 13
Tue. (Nov. 21st)
- Preparation and trouble shooting for Final Project.
Section:
- Help with realization of Final Project.
Fri. (Nov. 24th) - no class
Section:
- Help with realization of Final Project.
Week 14
Tue. (Nov. 28th)
- Preparation and trouble shooting for Final Project.
Section:
- Help with realization of Final Project.
Fri. (Dec. 1st)
- Final Project presentations
Section:
- Help with realization of Final Project.
Week 15
Tue. (Dec. 5th)
- Final Project presentations
Fri. (Dec. 8th) – Last day of class.
- Preparation and planning for the end of the year’s concert
Tue. Dec.12th – Mon. Dec. 19th final exam period.