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Wednesday, October 05, 2011 12:02 PM

Guest Lecturer: Steven Kemper

Computer / Human Interaction

Haptic Resonse: Device mimics physical response (vibrating touchscreen/input interaction) Transduction: Transformation from one energy form to another (specifically here, from mechanical energy to electrical energy

Reactable: By Sergio and _______, out of Barcelona

Extressive Machines Musical Instruments Steven's Company

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Wednesday, October 12, 2011 12:04 PM


FRENCH ELECTRONIC DUOS Like Pierre Schaffer / Pierre Henri Daft Punk Parisian (France) Band (Duo)

Air Band from Versailles (France) (Duo) More ambient - more sampling - vocals with and without vocoder

Justice French Duo

1950s and 1960s Otto Leuning and Vladmir Ussachevsky: first US based electronic music center at Columbia University Collaborated with Milton Babbitt at Princeton University and shared the purchase of an RCA synthesizer - the RCA Mark II RCA Mark II : Room sized array of sound components - funded by $500,000 grant from Rockefeller Foundation Use a lot of instrument samples, varying speed, pitch MOOG Synthesizer Robert Moog - called his instrument a "Synthesizer" in 1967 - stuck Used modular synthesizers - add different components to get different sounds/effects Big hit - creates new sounds as opposed to mainly replicating instruments Asheville North Carolina Wendy Carlos - explores timbres of Moog

Class Notes Page 2

Monday, October 17, 2011 12:08 PM


Wendy Carlos Turned on Bach Gary Numan - used a lot (did "Cars") Goth/electronic/new wave sound

The Buchla 1964 - Donald Buchla One of first analog modular synthesizers - (he called it 'electronic music box') Included touch-sensitive keyboard to trigger notes Sequencer for programming a series of sounds to play automatically Wanted real time sound modulation (for live performance) Morin Subotnick "Silver Apples of the Moon" - performed with Buchla Close at beginning to electronische music (very random) Moog/Buchla performing "[Ruperboom] in The Beginning" on two Buchlas

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Wednesday, October 19, 2011 12:05 PM

Electro - acoustic Cinema for the ear

Program notes: Place/space threnody The focus of this work is not on the sounds themselves, but the spaces they inhabit. More specifically, I wanted to convey a sort piece that captures some of the sonic space that I grew-up listening to the radio within. To achieve this, I recorded a series of spaces ranging from large workshops and kitchen spaces to cars and living spaces, and then used these recordings to create impulse responses. I then composed a series of simple gestures for string instruments, piano and a variety of sound object (objects often found within the spaces themselves) and carefully set about situating the composed material within the captured spaces. Jumps from space to space - has fractures in between Anthozoa Looking across the water, sounds can seem to mimic the visual sense of panorama; wind and wave sounds, sea spray and splashing. Underneath the waves however, there is a very different portrait. The crisp delicate clicks, pops, and snaps produced from coral reefs present a soundscape far more intimate and dexterous as the many marine animals bustle Radiophonic Relatively loud tones Beeps, chimes, electronic chirps Auditory signifiers of relative shapes and lengths, designed to communicate a vast array of meanings. So vast an array of meanings in fact that these sounds seem to blend into the background, only occasionally reaching through to us. This work attempts to bring to the foreground some of these auditory icons, from summons to prayer to evacuation alarms. In doing so it intimates a certain desensitisation to the meanings behind these otherwise relatively loud tones, as we fail to take heed of their message, almost as though the more we hear Toy bagatelle ii A single key struck on a toy piano provides the majority of material for this work, whilst also using some of the sounds from the game of bagatelle (in the same way as 'toy bagatelle - I'). This miniature presents a more resonant, abstracted sound world complete with sound from a children's music box. As mentioned however, the focus for this bagatelle is on a signle time-stretched note form a toy piano which is used as a metaphor for the way children stretch the imagination whilst at play. Anecdotal Corpus christi As we spend an increasing amount of time working alongside computers, the work was inspired by some of the fast paced sonic activities generated by a desktop computer. To create the work I simply opened the casing on my computer and, using a variety of microphones, recorded some of the sounds encountered within. The work was created entirely from those sounds, with extensive sound processing via numerous computer applications (perhaps in a sense the term processing can be substituted for cannibalising, as the machine feeds on itself!) Built environment This refers to the ever changing urban landscapes that provide settings for human activity, ranging from comprehensive public superstructures to personal and intimate places and spaces. By situating all manner of kinetic, gestural and textural material within evolving, at times densely populated environments, I hope to provide a short work that

Impulse response Type of reverb Take response from impulse in environment (sharp, short sound across large frequency spectrum) and apply reverb/space response to apply to any sound

Class Notes Page 4

Monday, October 24, 2011 12:01 PM

Music Department Chair - Fickinger Created new electronic instrument - the Polytone

Big Hit music hub, Norfolk/Virginia Beach The Neptunes (producer)

Max Mathews' computer-generated sound. "Music 1" Mathews' 'singing computer' presents a completely computer-generated voice. He is considered the "father of computer music"
He also created versatile electronic instruments to play the computer: GROOVE and the Radio Baton

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Wednesday, October 26, 2011 12:01 PM

Troy Rogers - not Roy Rogers Robots! Gottfried - Robot Orchestra

Pierre Jaquet-Droz automata (1768-1774) Orchestrions - mid 19th centure (M. Welte Orchestrion, 1862)

EMMI: Expressive Machines Musical Instruments - Coefounded by Troy Rogers, Steven Kemper, and Scott Barton in 2007 - Focused on new possibilities of robotic instruments, not on replicating human performance - Goal: to go beyond robots that can merely play many notes quickly, and create robotic instruments with wide and nuanced expressive potential

Intro to MIDI

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Monday, November 21, 2011 12:27 PM

James Tenney - Composer/Musician turned researcher at Bell Labs - Worked until 1964 - Met John Pierce at the University of Illinois in 1960 and came to Bell Labs from 1961-1964 - First composer to do computer music research Jean Claude Risset - Read Max Mathews' Science article - Replaced James Tenney at Bell Labs in 1964 - Risset followed Mathews' call to pursue research in psychoacoustics
John Chowning

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Monday, November 28, 2011 12:07 PM

African music

Three Directions in Computer Music - Granular Synthesis: Xenakis to Barry Truax - Rhythmic Phasing: African polyrhythm to Steve Reich - Alternate Controller: Cage to Laetitia Sonami

Granular Synthesis - Gabor, 1947: Theory of Acoustical Quanta Weiner, 1964: corroborated Gabor's theroies by applying Planck's quantum theory to sound Moles, 1968: used granular synthesis to analyze information content in a sonic message - Xenakis, 1971: first compositional theory for grains of sound - screens Roads, 1975: first implementation of granular synthesis at UCSD using Music V on a Burroghs B6700 computer. 1981: updated system at MIT using Music 11 on a DEC PDP 11/50 Truax, 1979-86: developed the PODX system using the DMX 1000 Digital Signal Processor controlled by a PDP micro controller

Grain: a small acoustic event - typically less than 100 ms in duration and ar organized into dense particulate masses. Grain densities can range from several hundred to several thousand grains per second

Rhythmic Phasing One pattern stays the same while another shifts by eighth notes. The pattern goes out of phase. "I do not mean the process of composition, but rather pieces of music that are literally processes. The distinctive thing about musical processes is that they deterrmine all the note-to-note (soundto-sound) details and the overall form simultaneously (think of a round or infinite canon.)

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