Course format: Three hours of lecture per week.
Prerequisites: 27 or consent of instructor.
A review of the sensory, perceptual, and cognitive foundations of listening, composing, and performing. Topics include: relations among various acoustical and perceptual characterizations of sound; perception of pitch, temporal relations, timbre, stability conditions, and auditory space; auditory scene analysis and perceptual grouping mechanisms; perceptual principles for melodic, rhythmic, and harmonic organization; orchestration as spectral composition. A course research project is required.
The course research project should involve the analysis of musical examples and/or perceptual and cognitive issues in music theory.
The course project must be more extensive in terms of its scholarship and originality, and involve an experimental study.
Course format: Three hours of lecture and six hours of lab per week
Basic concepts and techniques of computer-based musical research, composition, and performance. Essentials of digital audio signal processing, musical acoustics and psychoacoustics, sound analysis and synthesis, musical data bases, use of MIDI, computer programming for music, computer-aided music analysis, printing and composition. Works from the computer music repertoire will be examined.
Course format: Three hours of workshop and nine hours of laboratory per week.
Music 201 is designed for people pursuing significant compositional projects using the resources at CNMAT. If you are planning to create music at CNMAT this Spring then you should be registered for the 201. Each composer will define a semester project in consultation with Prof. Campion. These projects will more than likely involve using the CNMAT additive synthesis tools (CAST). The class will meet once a week for presentations and troubleshooting of equipment. In addition, Prof. Campion will work individually with composers as needed.
Technical and musical issues in the design and development of computer-based music systems including digital signal processing for the analysis and synthesis of sound, scheduling of multiple musical control processes, perceptual and cognitive models, user-interface design, reactive real-time control, and the analysis and representation of musical structure.
Course format: Six hours of lecture/practical laboratory per week for two weeks.
Must be taken on a satisfactory/unsatisfactory basis.
Prerequisites: Consent of instructor.
This hands-on course will expose students to musical tools developed by the Center for New Music and Audio Technologies (CNMAT). Topics include performative and compositional applications of current research at CNMAT, including sound synthesis and diffusion, high-level control, and network applications.
An intensive two-week workshop covering prevalent and emerging methods of sound synthesis, tools for organization of timbral resources, real-time control strategies, and sound diffusion.
Adrian Freed with Robin Bargar, Perry R. Cook and Xavier Serra
This course introduces concepts of digital sound synthesis and manipulation. Specifically it addresses how sound can be used in conjunction with computer graphics, and how sound can be used to enhance computer graphics applications. The course distinguishes itself from prior sound and graphics courses at SIGGRAPH, in that we will be discussing techniques and applications using source and binary code that attendees can use immediately in their own applications. The emphasis of this course is to get the attendees excited about the use of sound with graphics, then answer the question "how can I get involved?" The course format is somewhat different from other full day courses, in that it is divided into two 1/2 day sessions which can be attended individually if desired. The morning session will discuss theory, algorithms, and issues in the computation of sound and graphics. The afternoon session will involve demonstrations illustrating the use of real and non real time sound synthesis to enhance graphics applications.
We bring scientific and engineering tools and resources to bear on musical problems and issues. Our particular emphasis is new performance technology and performance-related research issues and problems such as real-time synthesis and control. Suggested topics for independent study, work study and/or graduate research include: