Technologies and techniques for the production of recorded music using computers. Practical application of digital audio production software for recording, editing, mixing, and digital signal processing, and for control of MIDI synthesizers. Investigation of new ideas in computer-aided composition. Work includes lectures/demonstrations, analysis of recorded music, production exercises, and some original composition.
Graduate Seminars in the School of Music at Korea National University of Arts:
Graduate Seminars in the School of Music at Korea National University of Arts:
Seminar on technical and aesthetic issues in modern music composition. Prerequisite: Music 16D. (See course syllabus.)
Seminar on technical and aesthetic issues in modern music composition, with an emphasis on experimentalism. Students compose short exercises and one complete work for chamber ensemble, in close collaboration with students of Chamber Ensembles focusing on contemporary music, for performance at the end of the quarter. Prerequisite: Music 30C or Music 16D or consent of instructor.
Contemporary chamber music performance practice, emphasizing performance of repertoire of the last fifty years. Participants perform contemporary works and actively collaborate with composition students to create new works. Prerequisite: consent of instructor.
Chamber ensemble for the composition, improvisation, and performance of electronic and electro-acoustic music. Prerequisite: consent of instructor. See course syllabus for details.
Advanced study of the harmonic and structural bases of tonal music; development of rhythmic and aural skills for performance and analysis of tonal and post-tonal music. Prerequisite: Music 16C or demonstrated equivalency. (Students, see the course website for information about the class.)
Seminar on technical and aesthetic issues in modern music composition. For first-year Master's students emphasizing Composition and Technology. (See course syllabus.)
A theoretical and practical study of how computers synthesize and process sound. Essential premises of digital signal processing are explored as they apply to audio, and these concepts are put into practice in student-designed programming projects. The course provides the knowledge and experience required for advanced study in computer audio, synthesizer design, and computer music. (See course syllabus and course web site.) Ability to program in C is required. Music 51 or equivalent computer music experience is highly recommended.
Seminar on technical and aesthetic issues in modern music composition. Prerequisite: Music 16D. (See the course syllabus for more information.)
This seminar will focus on two kinds of experimentation in music. One is experimentation in acoustics, audio perception, and cognition, which is conducted in an attempt to give us a better understanding of the effects of music. A second is the experimental use of new means of sound production and new methods of composition, in an effort to expand the musical culture in interesting ways. In both cases, scientific method and ideas from other disciplines are used to give us new understanding of the phenomenon of music. No prerequisite. (See the Freshman Seminar website for more information about the Freshman Seminar program.) Students can find their assignments online.
A survey of approaches to understanding Western music by analyzing its composition, its performance, its theoretical and aesthetic bases, and its role in contemporary culture. (See course syllabus.) Prerequisites: Music 35B (Post-tonal Theory) or equivalent, and Music 155A (Analysis) or equivalent.
Individual lessons in computer music composition. For second-year Master's students emphasizing Composition and Technology.
Programming interactive computer music performance, interactive installation art, and other types of computer-mediated performance. (See course syllabus.)
Integrating live video processing, realtime data visualization, computer music, and interactive performance, using Max/MSP/Jitter. (See course syllabus.)
Study of historical and experimental approaches to formalizing the compositional process, including statistical probability, mathematical formulae, computer programming paradigms, sonification of non-musical data, artificial intelligence, learning systems, and interactive systems. (See course outline and list of readings.)
Application of digital signal processing techniques to the synthesis and processing of sound, including filter theory, convolution, Fourier analysis/synthesis, phase vocoding, and physical modeling. (See course outline.)
A theoretical and practical study of how computers synthesize and process sound. Essential premises of digital signal processing are explored as they apply to audio, and these concepts are put into practice in student-designed programming projects. The course provides the knowledge and experience required for advanced study in computer audio, synthesizer design, and computer music. (See course syllabus and course web site.) Ability to program in some language is required (C, Java, or MSP). Music 51 or equivalent computer music experience is highly recommended.
Composition using personal computers for digital signal processing and for control of synthesizers. Concentration on the theoretical bases of DSP and MIDI, practical computer applications of those ideas, and investigation of computer-aided composition. Work will include lectures, demonstrations, readings, listenings, compositional exercises, and original composition. (See course syllabus.) Prerequisite: Music 51 (Music Technology and Computers) or consent of instructor; enrollment limited to 12 students.
Study of artistic issues and programming techniques involved in the development of interactive computer art and music. Theoretical background, basic tenets of programming, and practical exercises in programming interactive computer multimedia art. (See course syllabus.)
Advanced tonal harmony; advanced tonal sightsinging, introduction to singing atonal melodies; performance of complex rhythms; approaches to analysis of European classical and other tonal music; composition based on established theoretical models. Prerequisite: Music 16C or demonstrated equivalency. (Students, see the course website for information about the class.)
Individual lessons in modern music composition. For Master's students emphasizing Composition and Technology.
A theoretical and practical study of how computers synthesize and process sound. Essential premises of digital signal processing are explored as they apply to audio, and these concepts are put into practice in student-designed programming projects. The course provides the knowledge and experience required for advanced study in computer audio, synthesizer design, and computer music. (See course syllabus and course web site.) Ability to program in some language is required (C, Java, or MSP). Music 51 or equivalent computer music experience is highly recommended.
Composition using personal computers for digital signal processing and for control of synthesizers. Concentration on the theoretical bases of DSP and MIDI, practical computer applications of those ideas, and investigation of computer-aided composition. Work will include lectures, demonstrations, readings, listenings, compositional exercises, and original composition. (See course syllabus.) Prerequisite: Music 51 (Music Technology and Computers) or consent of instructor; enrollment limited to 12 students.
Individual lessons in computer music composition. For second-year Master's students emphasizing Composition and Technology.
Computers are used in very many aspects of music making today: CD and MP3 files are the main means of transmitting music, digital drum machines and samplers have replaced or supplemented the instrumentation of many bands, computer hard-disk recording has replaced the traditional studio, and experimental artists are performing with laptops, computer VJ systems, and a variety of customized digital equipment. This seminar will examine the many ways computers have changed the music world. Seminar sessions will include discussions and demonstrations; homework will include listening and reading assignments. (See course website.)
Study of artistic issues and programming techniques involved in the development of interactive computer art and music. Theoretical background, basic tenets of programming, and practical exercises in programming interactive computer multimedia art using Max/MSP/Jitter. (See course website.)
COSMOS summer camp in math and science for California high school students. Cluster 3, "Computer Music and Computer Graphics" focuses on the physics and psychophysics of sound, music, light, and image, and on the mathematical and computational principles behind representing and manipulating music and images. Students learn to program in the widely-used visual programming environment Max/MSP/Jitter for MIDI, digital audio, computer graphics, and digital video. Students develop their own applications for sound processing, algorithmic music-making, 2D and 3D graphics, and multimedia presentation.
Seminar in techniques of music composition, for Music majors. Prerequisite: Music 16D. (Students can find the syllabus, readings, and assignments online.
Lessons in modern music composition, for Master's students emphasizing Composition and Technology. (Students can find the syllabus online.
A theoretical and practical study of how computers synthesize and process sound and music. Essential premises of digital signal processing are explored as they apply to audio, and these concepts are put into practice in student-designed programming projects. The course provides the knowledge and experience required for advanced study in computer audio, synthesizer design, and computer music. Some ability to program (in C, Java, Csound, Max/MSP, or Pd) is required. Music 51 or equivalent computer music experience is highly recommended. (See course syllabus and course web site.)
Exercises in the composition of music uniquely possible by computer, including digital signal processing, computer control of synthesizers and processors, and algorithmic composition. Demonstrations and musical analyses in class; considerable studio work outside class. Prerequisite: Music 51 or consent of instructor. (Prospective students can see the syllabus from the previous year's course.)
Lessons in modern music composition, for Master's students emphasizing Composition and Technology. (Students can find the syllabus online.
Study of artistic issues and programming techniques involved in the development of interactive computer art and music. Theoretical background, basic tenets of programming, and practical exercises in programming interactive computer multimedia art using Max/MSP/Jitter. (See course website.)
Time is the medium in which music transpires. Form and rhythm are sonic articulations of time on the large and small level; and now computers enable us to study time with great objective precision, even on the microscopic level. However, time remains largely a mystery. We don't have a specific sense organ that perceives it (as we do for light and sound), we can't feel it or grasp it, and we perceive it differently in different contexts. Scientists and philosophers have written extensively on the elusive nature of time. Musicians and other time-based artists (e.g., filmmakers) have established many ways of contemplating, managing, and composing the passage of time. This course will study what time is, some of the many ways it is perceived, measured, and discussed, and how musicians "shape" time with sound. The course will be conducted as a graduate seminar, with assigned readings, student-led discussion, and individual research/writing/presentations on selected subtopics. Ability to read a musical score is highly recommended. (See course website.)
Many music composers and performers are using computers in experimental and unexpected ways. In addition to using computers for traditional tasks such as music notation, recording, and production, some adventurous musicians are also programming computers to play a more active role in music making, to actually compose music, improvise music, synthesize and process new sounds, and generate entire multimedia spectacles. The professor will discuss his own work and that of other musicians in this experimental research field of "musically intelligent" computers. Seminar sessions will include demonstrations and discussions; homework will include reading and listening assignments. (Note: This is not a hands-on class in the use of computer music software. See the UCI Catalogue for information on regularly offered computer music courses.) All majors welcome. For more information, see the course syllabus.
A theoretical and practical study of how computers synthesize and process sound and music. Essential premises of digital signal processing are explored as they apply to audio, and these concepts are put into practice in student-designed programming projects. The course provides the knowledge and experience required for advanced study in computer audio, synthesizer design, and computer music. Some ability to program (in C, Java, Csound, Max/MSP, or Pd) is required. Music 51 or equivalent computer music experience is highly recommended. (See course syllabus and course web site.)
Lessons in modern music composition, for Music majors emphasizing Composition.
A project-based study of the technical details and musical concepts involved in live electronic music performance.
The main objectives of the class are:
1) to develop confidence and self-sufficiency in dealing with the basic technology of music performance involving electronics, such as microphones, cables and plugs, mixers, amplifiers and speakers, synthesizers, and audio effects processors (and, to a much lesser extent, personal computers),
2) to discuss the aesthetic issues of music and performance that involve electronics,
3) to produce interesting sounds and new types of performance involving electronics, especially synthesizers and effects processors,
4) to produce, rehearse, and perform a public concert of new music for synthesizers.
The class will culminate in a synthesizer extravaganza concert at the end of the quarter, which will also be performed publicly in the Beall Center for Art + Technology early in Spring quarter.
Lessons in modern music composition, for Master's students emphasizing Composition and Technology.
Seminar in techniques of music composition, for Music majors. Prerequisite: Music 16D. (Students can find the syllabus, readings, and assignments online.
Study of artistic issues and programming techniques involved in the development of interactive computer art and music. Theoretical background, basic tenets of programming, and practical exercises in programming interactive computer multimedia art using Max/MSP/Jitter. (See course website.)
Lessons in modern music composition, for Music majors emphasizing Composition.
Lessons in modern music composition, for Master's students emphasizing Composition and Technology.
Techniques of computer music and multimedia programming. For Master's students emphasizing Composition and Technology.
A study of the influence of technology on the musical culture and aesthetics of America in the last 100 years, with particular emphasis on the role of the computer. Work includes lectures, readings, listenings, discussions, demonstrations, writing, and experimentation.
Lessons in modern music composition, for Music majors emphasizing Composition.
Composition and production of recorded music using personal computers for digital signal processing and for control of synthesizers. Practical application of digital audio production software and MIDI, and investigation of new ideas in computer-aided composition. Work will include lectures/demonstrations, analysis of recorded music, compositional exercises, and original composition. Instruction and projects are carried out in state-of-the-art facilities using industry-standard software. (See course syllabus.) Prerequisite: Music 51 (Music Technology and Computers) or consent of instructor; enrollment limited to 12 students.
Lessons in modern music composition, for Music majors emphasizing Composition.
Graduate course in computer music composition. This term focuses on professional software tools for audio recording, production, and composition, and uniquely computer-based concepts and techniques of composition.
Seminar and individual lessons in instrumental composition.
Graduate course in computer music programming. This term focuses on the use of Max/MSP/Jitter for algorithmic composition, audio synthesis and processing, and realtime interactive performance works for computer music and multimedia.