MUS 570B or CMIDI Computer Music
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Class 1 |
Tuesday, May 27 5:00p-8:30p |
Overview of MIDI technology Components of a MIDI system Familiarization with Roland patches (User, A, B, C, GM) Roland synth function keys |
| Wednesday, May 28 5:00p-8:30p |
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| Read: | Chapter 1, From Sound to Electricity and Back (omit pp. 14-23) |
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Class 2 |
Thursday, May 29 5:00p-8:30p |
Cakewalk tutorial Sequencing assignment: Haydn symphony excerpt |
| Monday, June 2 5:00p-8:30p |
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| Read: | Chapter 3, Digital Recording |
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Class 3 |
Tuesday, June 3 5:00p-8:30p |
TEST, Chapters 1 & 3 Sequencing assignment: Haydn continued/editing Cakewalk: Event List View, Piano Roll View, Staff View Sequencing assignment: Hodgepodge sheet, Step Recording, Quantization |
| Wednesday, June 4 5:00p-8:30p |
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| Read: | Chapter 5, The Musical Instrument Digital Interface |
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Class 4 |
Thursday, June 5 5:00p-8:30p |
Lab: Begin work on Cakewalk Sequencing Project (approx 3' ... must be approved by prof.) |
| Monday, June 9 5:00p-8:30p |
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| Read: | Chapter 7, Tone Colors |
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Class 5 |
Tuesday, June 10 5:00p-8:30p, or 8:30a-12:00 noon (TBA) |
TEST, Chapters 5 & 7 Lab: Continue work on Sequencing Project |
| Wednesday, June 11 5:00p-8:30p, or 8:30a-12:00 noon (TBA) |
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| Read: | Chapter 9, Digital Sound Sampling and Synthesis |
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Class 6 |
Thursday, June 12 5:00p-8:30p, or 8:30a-12:00 noon (TBA) |
Lab: Conclude work on Sequencing Project Introduction to Finale notation software |
| *Friday, June 13 5:00p-8:30p, or 8:30a-12:00 noon (TBA) |
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| Read: | Chapter 10: Composing Electroacoustic Music |
| Class 7 | Tuesday, June 17 5:00p-8:30p, or 8:30a-12:00 noon (TBA) |
Begin work on Finale Notation Project |
| Monday, June 16 5:00p-8:30p, or 8:30a-12:00 noon (TBA) |
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| Read: | Chapter 11: The Audience for Electroacoustic Music |
| Class 8 | Thursday, June 19 5:00p-8:30p, or 8:30a-12:00 noon (TBA) |
TEST, General MIDI Procedures and
Terminology Conclude work on Finale Notation Project Class presentation of Sequencing Projects Paper due, if contracted |
| Wednesday, June 18 5:00p-8:30p, or 8:30a-12:00 noon (TBA) |
Sequencing Project: Due to the diverse level of musical skills normally represented in the class, you are encouraged to choose music materials which 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. You may choose a piece of any aesthetic direction (art music or popular music). In the past, some graduate students have recorded performance tracks for their school choirs, or for personal use.
Notation Project: The primary objective is to gain a fundamental understanding of the procedures involved in basic notation. Naturally, it will be impractical to study the program in depth. The notation project will involve reproducing a single page (minimum) of music at publisher quality (involves note entry, page layout and printing). You may select any piece of music for this project. The Course Outline will be flexible. The goal of the project is to enable you to achieve a basic facility in computer music notation so that you may be able to print your own music, or make adaptations of existing arrangements as is sometimes necessary in order to facilitate a performance. Depending upon the speed at which you are able to progress, you may wish to pursue additional projects.
EVALUATION
Each graduate student will contract for a grade. See
attached form. Also, see under attendance.
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. 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.
MISCELLANEOUS
A number of new MIDI-related texts have been ordered through the
Learning Resource Center which should be helpful in writing a
report, 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.
NOTE
A workstation rotation system may need to be implemented, depending
on the number of students registered for the course. Should
this be necessary, you may work on your written report in the LRC if
you are not scheduled to be at a workstation during a particular
time.
BIBLIOGRAPHY
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.
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.
Winkler, Todd. Composing Interactive Music Techniques and
Ideas Using Max. Cambridge, Massachusetts: MIT Press, 1998.
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MIDI Computer Music |
Requirements for a grade of A:
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Requirements for a grade of B:
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Requirements for a grade of C:
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| 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: ____.
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