MUS 514A / CSC 514A
MIDI Computer Music
|AN INTRODUCTION TO THE
CREATION OF ELECTROACOUSTIC MUSIC
|EXPERIENCING MUSIC TECHNOLOGY
David Brian Williams &
Peter Richard Webster
Chapter 1, From Sound to
Electricity and Back (pp. 1-13, 24-29)
Introduction, pp. xxvi-xxx
Mon., May 22
|Overview of MIDI technology
Components of a MIDI system
Familiarization with Roland patches (User, A, B, C, GM)
Roland synth function keys
Wed., May 24
Sequencing assignment: Haydn symphony excerpt
Fri., May 26
|Sequencing assignment: Haydn continued, editing
Cakewalk: Event List View, Piano Roll View, Staff View
Sequencing assignments: Hodgepodge sheet, Step Recording, Quantization.
Mon., May 29
|Begin work on Cakewalk Sequencing Project Number One (approx. three minutes of music ... must be approved by prof.). This will be a multi-track art music work, such as an orchestra score, concert band score, SATB choir and piano score, or chamber music score requiring at least four tracks (string quartet, for example).|
Wed., May 31
Class Presentations of Sequencing Project Number One
Fri., June 2
|Begin work on Cakewalk Sequencing Project Number Two (approx. three minutes of music ... must be approved by prof.). This project will be a multi-track music work in a commercial style, using piano (or whatever), bass and drums, perhaps strings, etc., etc.|
Mon., June 5
Class Presentations of Sequencing Project Number Two
Wed., June 7
|Introduction to Finale Music Notation Software|
Fri., June 9
|Finale notation examples: Bach Gavotte, Lead Sheet, Hymn (incorporating "layers"), Music Theory example with figured bass symbols|
Mon., June 12
|Begin work on Finale Notation
Project Number One
This project will be to duplicate the first page of a multi-stave score of any type, correct in every detail. You also must extract parts.
Wed., June 14
|Begin work on Finale Notation
Project Number Two
This project will be to duplicate the first page of a solo instrument part or voice part (such as a lead sheet), correct in every detail.
Research Paper due, if contracted
Fri., June 16
|Conclude work and submit Finale Notation Projects One & Two|
Sequencing Projects: Due to the diverse level of musical skills normally represented in the class, you are encouraged to choose music materials that are appropriately challenging for your abilities. Preferably, you may wish to work on a project from your own music literature library which may have practical application. For sequencing project number two, some graduate students have recorded performance tracks for their school choirs, or for personal use. I have some popular music materials you may wish to borrow for your source. Your recordings should be well edited, i.e., relatively free of mistakes.
Notation Projects: The primary objective is to gain a fundamental understanding of the procedures involved in basic notation. It will be impractical to study the program in depth. The notation projects will involve reproducing the first page of (1) a multi-stave score of any type, and, (2) a solo instrument part or voice part (such as a lead sheet). Both pages should be correct in every detail: page layout, font type and size, dynamic and articulation markings, etc. As part of the score notation project, we will discuss part extraction (creating individual files from score staves) and page layout.
Each graduate student will contract for a grade. See attached form. Also, see under attendance.
Attendance at all class meetings is strongly encouraged, however, you will be allowed one excused absence. If you have a professional commitment, we can deal; please be sure to notify me in advance, however. An unexcused absence will result in the lowering of your contracted grade by one letter for each additional absence beyond the one excused absence. Should an emergency situation arise, individual arrangements should be made with the professor.
A number of new MIDI-related texts have been ordered through the Learning Resource Center which should be helpful in writing a research paper, should you opt to write one. The LRC also subscribes to: Billboard, Computer Music Journal, Computers and Humanities, Down Beat, Electronic Musician, The Instrumentalist, Music Educators Journal, Music Teacher, Piano Quarterly. Web searches may also be useful (try searches using "Electronic Music," "MIDI," "Computer Music," etc.). Be sure to provide bibliographic references, including web sites used.
Adams, Robert Train. Electronic Music Composition for Beginners. Dubuque, Iowa: Wm. C. Brown Communications, Inc., 1992.
Bates, John. The Synthesizer. Suffolk, England: Oxford University Press, 1988.
Boom, Michael. Music Through MIDI. Redmond, Washington: Microsoft Press, 1987.
DeFuria, Steve. The Secrets of Analog and Digital Synthesis. Pompton Lakes, New Jersey: Third Earth Productions, 1988.
Dobson, Richard. A Dictionary of Electronic and Computer Music Technology: Instruments, Terms, Techniques. New York: Oxford University Press, 1992.
Dodge, Charles. Computer Music: Synthesis, Composition, and Performance. New York: Schirmer Books, 1997.
Lloyd, Les. Technology and Teaching. Medford, New Jersey: Information Today, 1997.
Manning, Peter. Electronic and Computer Music. New York, New York: Oxford University Press, 1994.
Muro, Don. The Art of Sequencing: A Step by Step Approach. Merrick, New York: Electronic Music Productions, 1993.
Pellman, Samuel. An Introduction to the Creation of Electroacoustic Music. Belmont, California: Wadsworth Publishing Company, 1994.
Penfold, R.A. Electronic Music and MIDI Projects. Kent, England: PC Publishing, 1994.
Pressing, Jeff. Synthesizer Performance and Real-Time Techniques. Madison, Wisconsin: A-R Editions, 1992.
Rathbone, Andy. MP3 for Dummies. Foster City, CA: IDG Books Worldwide, Inc., 1999.
Robertson, Michael, and Simpson, Ron. The Official MP3.com Guide to MP3. San Diego: MP3.com, Inc., 1999.
Rothstein, Joseph. MIDI: A Comprehensive Introduction. Madison, Wisconsin, 1992.
Simpson, Ron. The Official MP3.com Guide to MP3. San Diego: MP3.com, 1999.
Teague, Fred A.; Streit, Les D.; Rogers, Doug; Tipling, Roger. Media and Technology in the Classroom. Dubuque, Iowa: Kendall/Hunt, 1989.
Tully, Tim. MIDI for the Professional. New York: Amsco Publications, 1993.
Walker, Dan. Recording & Film Scoring with SMPTE. Newbury Park, California: Peter L. Alexander, 1991.
Waugh, Ian. Sequencer Secrets. Tonbridge, England: PC Publishing, 1995.
Williams, David Brian and Webster, Peter Richard. Experiencing Music Technology: Software, Data, and Hardware. Belmont, California: Wadsworth Group/Thomson Learning, 1999.
Winkler, Todd. Composing Interactive Music Techniques and Ideas Using Max. Cambridge, Massachusetts: MIT Press, 1998.
MIDI Computer Music
|Requirements for a grade of A:
|Requirements for a grade of B:
|Requirements for a grade of C:
|If you do not meet the requirements of the grade for which you contract, you may expect to receive a grade equivalent to the work which you have satisfactorily completed. Please return this form to me by the end of the first week of classes.|
|I contract for a grade of: ____.