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Music 80C History and Literature of Electronic Music Tuesday/Thursday, 1-4PM Music Center 131
Music 80C History and Literature of Electronic Music Tuesday/Thursday, 1-4PM Music Center 131 Instructor: Madison Heying Email: [email protected] Office Hours: By Appointment Course Description: This course is a survey of the history and literature of electronic music. In each class we will learn about a music-making technique, composer, aesthetic movement, and the associated repertoire. Tests and Quizzes: There will be one test for this course. Students will be tested on the required listening and materials covered in lectures. To be prepared students must spend time outside class listening to required listening, and should keep track of the content of the lectures to study. Assignments and Participation: A portion of each class will be spent learning the techniques of electronic and computer music-making. Your attendance and participation in this portion of the class is imperative, since you will not necessarily be tested on the material that you learn. However, participation in the assignments and workshops will help you on the test and will provide you with some of the skills and context for your final projects. Assignment 1: Listening Assignment (Due June 30th) Assignment 2: Field Recording (Due July 12th) Final Project: The final project is the most important aspect of this course. The following descriptions are intentionally open-ended so that you can pursue a project that is of interest to you; however, it is imperative that your project must be connected to the materials discussed in class. You must do a 10-20 minute in class presentation of your project. You must meet with me at least once to discuss your paper and submit a ½ page proposal for your project. -
Program Notes
NSEME 2018 Installations (ongoing throughout festival) Four4 (1991, arr. 2017) - room 2009 Anthony T. Marasco, Eric Sheffield, Landon Viator, Brian Elizondo ///Weave/// (2017) - room 2008 Alejandro Sosa Carrillo (1993) Virtual Reality Ambisonic Toolkit (2018) - room 2011 Michael Smith (1983) Within, Outside, and Beside Itself:The Architecture of the CFA - room 2013 Jordan Dykstra (1985) Installations Program Notes: Alejandro Carrillo “///Weave///” A generative system of both random and fixed values that cycle over a period of 6 minutes. By merging light and sound sine waves, parameters such as frequency, amplitude and spatialization have been mapped into three sound wave generators or voices (bass line, harmonies and lead) and three waveforms from a modular video synthesizer on MaxMSP aiming to audiovisual synchronicity and equivalence. Jordan Dykstra “Within, Outside, and Beside Itself: The Architecture of the CFA” A performance which plays not only with the idea of lecture-performance as a musicological extension of history, narrative, and academic performance-composition Within, Outside, and Beside Itself: The Architecture of the CFA also addresses how the presenta- tion of knowledge is linked to the production of knowledge through performance. I believe that creating space for new connections through creative presentation and alternative methodologies can both foster new arenas for discussion and coordinate existing relationships between academia and the outside world. A critique regarding how the Center for the Arts at Wesleyan University func- tions as an academic institution, as well as its physical role as the third teacher, my lecture performance playfully harmonizes texts from art historians at Wesleyan University, archaeologists, critical theorists, YouTube transcriptions, quotes from the founder of the Reggio Emilia school, and medical journal articles about mirror neurons. -
Muc 4313/5315
MUC 4313/5315 Reading Notes: Chadabe - Electric Sound Sample Exams Moog Patch Sheet Project Critique Form Listening List Truax - Letter To A 25-Year Old Electroacoustic Composer Fall 2003 Table of Contents Chadabe - Electric Sound Chapter Page 1 1 2 3 3 7 4 9 5 10 6 14 7 18 8 21 9 24 10 27 11 29 12 33 Appendex 1 – Terms and Abbreviations 35 Appendex 2 – Backus: Fundamental Physical Quantities 36 Sample Exams Exam Page Quiz 1 37 Quiz 2 40 Mid-Term 43 Quiz 3 47 Quiz 4 50 Final 53 Moog Patch Sheet 59 Project Critique Form 60 Listening List 61 Truax - Letter to a 25-Year Old Electroacoustic Composer 62 i Chapter 1, The Early Instruments What we want is an instrument that will give us a continuous sound at any pitch. The composer and the electrician will have to labor together to get it. (Edgard Varèse, 1922) History of Music Technology 27th cent. B.C. - Chinese scales 6th cent. B.C. - Pythagoras, relationship of pitch intervals to numerical frequency ratios (2:1 = 8ve) 2nd cent. C.E. - Ptolemy, scale-like Ptolemaic sequence 16 cent. C.E. - de Salinas, mean tone temperament 17th cent. C.E. - Schnitger, equal temperament Instruments Archicembalo (Vicentino, 17th cent. C.E.) 31 tones/8ve Clavecin electrique (La Borde, 18th cent. C.E.) keyboard control of static charged carillon clappers Futurist Movement L’Arte dei Rumori (Russolo, 1913), description of futurist mechanical orchestra Intonarumori, boxes with hand cranked “noises” Gran concerto futuristica, orchestra of 18 members, performance group of futurist “noises” Musical Telegraph (Gray, 1874) Singing Arc (Duddell, 1899) Thaddeus Cahill Art of and Apparatus for Generating and Distributing Music Electronically (1897) Telharmonium (1898) New York Cahill Telharmonic Company declared bankruptcy (1914) Electrical Means for Producing Musical Notes (De Forest, 1915), using an audion as oscillator, more cost effective Leon Theremin Aetherphone (1920) a.k.a. -
Live and Interactive Electronic Vocal Compositions: Trends and Techniques for the Art of Performance
Live and Interactive Electronic Vocal Compositions: Trends and Techniques for the Art of Performance • Julieanne Klein F acuIty of Music McGill University, Montreal January 2007 A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements of the degree of Doctor of Music. r © Julieanne Klein 2007 • Abstract This thesis deals with technological, compositional and performance-practice aspects of computer-based live and interactive electronic vocal music. Live performance-based electronic music indicates a composition by which the vocal, instrumental and/or electronic sounds are processed in real time. By surveying historical developments, technological advances, aesthetics, and important figures, this document intends to assist singers in gaining a global perspective of the field in hopes of facilitating interest in the performing and commissioning of live electronic vocal compositions. An important element of this thesis is an annotated appendix of computer-based live and interactive electronic vocal music detailing instrumentation, technical requirements, texts, performance notes and publisher contact information. In order to assist in the study and performance of these works, relevant performance issues are explored, and a methodology and step-by-step checklist for learning contemporary and electronic vocal music is included. An analysis of three vocal works in this genre is presented: En Écho by Philippe Manoury, Erba nera che cresci segno nero tu l!il!i by Mauro Lanza, and a new work commissioned especially for this study, Avant la lawe by David Adamcyk. Cette thèse traite des aspects technologiques et compositionnels ainsi que de l'interprétation d'oeuvres pour voix et traitement électronique interactif en temps réel. -
Origins of the Experimental Music Studios at Illinois: the Urbana School from the Dean
WINTER 2009 The News Magazine of the University of Illinois School of Music origins of the experimental music studios at illinois: the urbana school From the Dean The School of Music is one of the most respected and visible units in the College of Fine and WINTER 2009 Applied Arts at the University of Illinois, and it is Published for alumni and friends of the School of Music also a vital component of what we are calling the at the University of Illinois at Urbana-Champaign new arts at Illinois, our vision of the college as a The School of Music is a unit of the College of Fine and Applied Arts at the University of Illinois at Urbana- leader in the arts of the future. Champaign and has been an accredited institutional member of the National Association of Schools of Music Throughout the college, we are exploring new since 1933. disciplinary combinations, new definitions of art, and new ways of thinking Karl Kramer, director Edward Rath, associate director and creating. At the same time, we maintain a profound commitment to the Paul Redman, assistant director, business Joyce Griggs, assistant director, enrollment management historical traditions of our art forms. We embrace the notion that the knowl- and public engagement Marlah Bonner-McDuffie, director, development edge arising from the study, interpretation, and creation of art is central to Philip Yampolsky, director, Robert E. Brown Center for World Music the intellectual enterprise of a great university and to the advancement of a David Allen, coordinator, outreach and public engagement great society. Michael Cameron, coordinator, graduate studies B. -
To Graphic Notation Today from Xenakis’S Upic to Graphic Notation Today
FROM XENAKIS’S UPIC TO GRAPHIC NOTATION TODAY FROM XENAKIS’S UPIC TO GRAPHIC NOTATION TODAY FROM XENAKIS’S UPIC TO GRAPHIC NOTATION TODAY PREFACES 18 PETER WEIBEL 24 LUDGER BRÜMMER 36 SHARON KANACH THE UPIC: 94 ANDREY SMIRNOV HISTORY, UPIC’S PRECURSORS INSTITUTIONS, AND 118 GUY MÉDIGUE IMPLICATIONS THE EARLY DAYS OF THE UPIC 142 ALAIN DESPRÉS THE UPIC: TOWARDS A PEDAGOGY OF CREATIVITY 160 RUDOLF FRISIUS THE UPIC―EXPERIMENTAL MUSIC PEDAGOGY― IANNIS XENAKIS 184 GERARD PAPE COMPOSING WITH SOUND AT LES ATELIERS UPIC/CCMIX 200 HUGUES GENEVOIS ONE MACHINE— TWO NON-PROFIT STRUCTURES 216 CYRILLE DELHAYE CENTRE IANNIS XENAKIS: MILESTONES AND CHALLENGES 232 KATERINA TSIOUKRA ESTABLISHING A XENAKIS CENTER IN GREECE: THE UPIC AT KSYME-CMRC 246 DIMITRIS KAMAROTOS THE UPIC IN GREECE: TEN YEARS OF LIVING AND CREATING WITH THE UPIC AT KSYME 290 RODOLPHE BOUROTTE PROBABILITIES, DRAWING, AND SOUND TABLE SYNTHESIS: THE MISSING LINK OF CONTENTS COMPOSERS 312 JULIO ESTRADA THE UPIC 528 KIYOSHI FURUKAWA EXPERIENCING THE LISTENING HAND AND THE UPIC AND UTOPIA THE UPIC UTOPIA 336 RICHARD BARRETT 540 CHIKASHI MIYAMA MEMORIES OF THE UPIC: 1989–2019 THE UPIC 2019 354 FRANÇOIS-BERNARD MÂCHE 562 VICTORIA SIMON THE UPIC UPSIDE DOWN UNFLATTERING SOUNDS: PARADIGMS OF INTERACTIVITY IN TACTILE INTERFACES FOR 380 TAKEHITO SHIMAZU SOUND PRODUCTION THE UPIC FOR A JAPANESE COMPOSER 574 JULIAN SCORDATO 396 BRIGITTE CONDORCET (ROBINDORÉ) NOVEL PERSPECTIVES FOR GRAPHIC BEYOND THE CONTINUUM: NOTATION IN IANNIX THE UNDISCOVERED TERRAINS OF THE UPIC 590 KOSMAS GIANNOUTAKIS EXPLORING -
Günter Geiger
The Search for Usability and Flexibility in Computer Music Systems Günter Geiger 1. INTRODUCTION “He (the user) would like to have a very powerful and flexible language in which he can specify any sequence of sounds. At the same time he would like a very simple language in which much can be said in a few words.”– Max Mathews Computer Music, that is, music created on a computer with the help of mathematical formu- las and signal processing algorithms has always been a challenging task, one that traditionally has been difficult to handle both by humans, because of the need of a fundamental under- standing of the algorithms, and by machines, because of the demands on computational power when implementing the algorithms. The first person who took this challenge and came up with a system for computer generated music was Max Mathews, working at the Bell Laboratories in the late 50s. We are about to cel- ebrate the 50th birthday of computer music, and we therefore have to ask ourselves what our computer music systems (CMS) evolved into, and where to go from here. Nowadays the processing power of everyday computer systems can easily handle most of the problems of computer music: can we say that the human factor in computer music is equally developed? Has the software matured in a way similar to the increase in hardware power? I will attempt to outline the levels of abstraction that we have reached and describe the established metaphors with a sketch of the main properties of computer music systems and a historical overview of the most influential systems and their implementation. -
An Excerpt of Ghosts Before Breakfast and a History of the Electronic
GHOSTS BEFORE BREAKFAST FOR CHAMBER ENSEMBLE AND ELECTRONICS AND A HISTORY OF THE ELECTRONIC MUSIC STUDIOS OF THE UNIVERSITY OF IOWA (1964-2017) by Jonathan J. Wilson A thesis submitted in partial fulfillment of the requirements for the Doctor of Philosophy degree in Music in the Graduate College of The University of Iowa December 2017 Thesis Supervisor: Professor Lawrence Fritts Copyright by JONATHAN JAMES WILSON 2017 All Rights Reserved Graduate College The University of Iowa Iowa City, Iowa CERTIFICATE OF APPROVAL ____________________________ PH.D. THESIS _________________ This is to certify that the Ph.D. thesis of Jonathan J. Wilson has been approved by the Examining Committee for the thesis requirement for the Doctor of Philosophy degree in Music at the December 2017 graduation. Thesis Committee: ____________________________________________ Lawrence Fritts, Thesis Supervisor ____________________________________________ David Gompper ____________________________________________ Jean-Francois Charles ____________________________________________ Mary Cohen ____________________________________________ Matthew Arndt ACKNOWLEDGEMENTS I wish to thank first and foremost my thesis advisor Lawrence Fritts for his guidance and support of my thesis throughout its development. Second, I would like to thank David Gompper for his invaluable suggestions concerning the orchestration of my thesis and for his guidance and advice during the course of my studies at the University of Iowa. I would like to extend my thanks to the other members of my committee Jean- Francois Charles, Mary Cohen, and Matthew Arndt for their support of my education and my growth as a composer and musician. Other faculty members (past and present) that I wish to thank who have been instrumental to my growth as a musician, teacher, and scholar at the University of Iowa include Jennifer Iverson, Christopher Jette, Nathan Platte, and Zachary Stanton. -
Carla Scaletti
Carla Scaletti Symbolic Sound Corporation Voice: +1-217-355-6273 206 North Randolph St., Suite 520 Fax: +1-217-355-6562 P.O. Box 2530 [email protected] Champaign, Illinois USA 61825-2530 http://www.symbolicsound.com USA Education Doctor of Musical Arts, University of Illinois at Urbana-Champaign, 1984 Major: Music Composition, Minor: Psychoacoustics Master of Computer Science, University of Illinois at Urbana-Champaign, 1988 Master of Music, Texas Tech University, 1979 Bachelor of Music, University of New Mexico, 1977 Experience 1988-present President, Symbolic Sound Corporation Co-founder of the Symbolic Sound Corporation Designer of the Kyma language Developed Kyma Sound Library Instructor for the “Kyma Immersion Weekend” courses at Symbolic Sound Author of the books Kyma X Revealed! andThe Kyma Sound Design Language Programmer in Smalltalk, C, and Motorola 56000 assembly language 1992-1994 Adjunct Assistant Professor, University of Illinois School of Music 1984-1994 Research Associate, University of Illinois CERL Sound Group Advisor for graduate composition students Co-investigator on National Center for Supercomputing Applications Data Sonification Project Consultant on Sound for National Center for Supercomputing ApplicationsVirtual Reality Lab Co-investigator on computer improvisation project with Salvatore Martirano, Bill Walker, Kurt Hebel Director and primary instructor for the annual Intensive Workshop in Sound Computation Director of weekly Seminars in Sound Computation on the University of Illinois campus Designer and -
2008 a Chronology of Electronic and Computer Music
(without A Chronology / History of Electronic and Computer Music and Related Events 1900 - 2014 frames) Last updated 5 January 2013 This page is currently being maintained. Please send suggestions and corrections to a subject of 'Chronology' gets my attention. © Copyright 2008-2014* Paul Doornbusch. This is a somewhat extended and updated version based on the same item originally published in The Oxford Handbook of Computer Music late in 2009. When attempting such a chronology or timeline, even one such as this which mostly ignores the commercial music world, it quickly becomes apparent that there is so much activity that it will necessarily be incomplete. It is impossible to list all of the events which have taken place in any locale or time. Given these limitations, perhaps this is still of some limited use as some sort of chronological overview of computer music research and related events, and I welcome suggestions for updates. This concentrates on electronic and computer music and includes fewer details of commercial music than a more comprehensive chronology might. Please see the references for a more detailed treatment of events (note 1). Year Selected Significant Musical Main Technological Events Electronic / Computer Events Music Events < Cylinder and disk recordings 1900 are common, as is the telephone. Moving pictures exist, but not with sound. 1906 First public performances of J. L. Baird creates the first Thaddeus Cahill's working (electromechanical) Dynamophone, also known as television. the Telharmonium (developed in 1897). Frank Conrad makes the first radio broadcast of audio. Lee De Forest develops the Triode (thermionic valve) or Audion tube, the first vacuum tube, which brought with it electronic amplification. -
AMS/SMT San Antonio 2018 Abstracts Thursday Afternoon 2:15–3:45
American Musicological Society Ars Hispana Editions Society for Music Theory New Series of Early Spanish Music Four series of rare music from the 17th and 18th centuries. San Antonio Volumes include complete scores, as well as introductory material and critical notes in Spanish. Subscribers receive 10% off all retail prices! MÚSICA VOCAL Highlights include: Francisco Corsell i, Cuatro Antifonias Marianas, €36 Juan Hidalgo, Obras Sacras, Vol. 1 €32 José de Nebra, Cantadas Sacras, Vol. 1 €32 MÚSICA INSTRUMENTAL Highlights include: Jacinto Codina Marfá, Concierto para Fortepiano €36 Jaime Rosquellas, Tres Sonatas Para Violín y Bajo €20 MÚSICA ENSÉNICA Highlights include: Sebastian Durón, Coronis €60 Sebastian Durón, Ópera Escénica Deducida de la Guerra de Los Gigantes €48 Sebastian Durón and Juan de Navas, Apolo y Dafne €64 ORATORIOS Pedro Rabassa , La gloria de los santos €36 For complete listings visit www.tfront.com 26362 Ruether Avenue Santa Clarita, CA 91350 Tel: 661-250-7189 email: [email protected] web: www.tfront.com 1-4 November 2018 Program & Abstracts g Program and Abstracts of Papers Read at the joint meeting of the American Musicological Society Eighty-fourth Annual Meeting and the Society for Music Theory Forty-first Annual Meeting 1–4 November 18 Grand Hyatt Hotel San Antonio, Texas g AMS/SMT Joint 2018 Annual Meeting Edited by Carol A. Hess and Roman Ivanovitch SMT Local Arrangements Committee Jennifer Diaz, Chair, Jennifer Beavers, Stacey Davis AMS Local Arrangements Committee Kevin Salfen, Chair, Mark Brill, Elizabeth Dyer, Carl Leafstedt, Kimberlyn Montford, Brett Richardson, Drew Stephen AMS Program Committee Carol A. Hess, Chair, Linda Austern, James W. -
History of the Eastman Computer Music Center
A(not so brief) History of the Eastman Computer Music Center 1981 - 2006 (wherein also will be found sundry opinionated observations) Allan Schindler The early years: 1979 - 1982 The origins of the Eastman Computer Music Center can be traced back to 1968, when Wayne Barlow, professor of composition, founded an electronic music studio at the school.1 By the end of the 1970s, when Wayne retired and I was hired to update and expand the electronic music program, the Eastman electronic studio consisted of three rooms that each contained a large, modular Moog1analog synthesizer and twoorthree stereo reel-to-reel tape recorders. The tape recorders were used not only to record the output from the Moogs, but also for tape delays, tape loops and other sound modification procedures. In the fall of 1979 Professors Joseph Schwantner and Aleck Brinkman and graduate stu- dent Robert Gross joined me in undertaking a fact-finding study of the newest resources in elec- tronic music production and the emerging field of digital audio. Because of the high cost of pur- chasing and maintaining electronic audio equipment, most electronic music studios in the US were in universities, colleges and conservatories, and most, likethe Eastman studio, consisted entirely of analog equipment. At a fewpioneering computer music studios, such as those at Stan- ford, Princeton, Columbia and Illinois, composers were making music by programming large mainframe computers that usually were shared by several university departments. Giventhe five mile distance between Eastman and the University of Rochester RiverCampus, the prospect of constant commuting between Eastman and the RiverCampus to piggyback on a university main- frame computer for much of our musical work was not appealing.