turning in homework online to the Homework Factory
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September 2003
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Sunday |
Monday |
Tuesday |
Wednesday |
Thursday |
Friday |
Saturday |
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21 |
22 |
23 |
24 |
25 first mtg. |
26 |
27 (no lab) |
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28 |
29 |
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October
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1 |
2 |
3 |
4 |
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5 |
6 |
8 |
9 |
10 |
11 |
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12 |
13 |
15 |
16 |
17 |
18 |
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19 |
20 |
22 |
23 |
24 |
25 |
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26 |
27 |
29 |
30 |
31 |
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November
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1 |
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2 |
3 |
5 |
6 |
7 |
8 |
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9 |
10 |
12 |
13 |
14 |
15 |
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16 |
17 |
18 G. Davis, Cl |
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20 |
21 |
22 |
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23 |
24 |
26 |
27 (no lab) |
28 |
29 (no lab) |
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30 |
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December
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1 |
3 |
4 (no lab) |
5 |
6 (no lab) |
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7 |
8 |
9 (no class) |
10 |
3:30 – 6:30 project presentations |
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Musical Etudes |
Musical Programming |
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HW#1 Compose a soundfile montage “bird piece” with a duration of at least two minutes (editing, montage and processing with Snd and/or Audacity) starting with Schottstaedt's birds. Generate his bird examples as described in the lecture notes. |
Create a song for a new bird species (sound example + scheme code) built on one of Schottstaedt's birds – don't forget to provide a common name and Latin name. In your web page, show a sonogram of the song and provide a brief comment on the code you wrote. |
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HW#2 Choose live instrument(s), record representative licks as sound samples with your new mic, compose a soundfile from the samples, score and perform a “live + soundfile” etude with interesting instrumental fusions and extensions. |
Find a simple tune. With your new mic, record an instrument playing the tune and then extract a set of instrument samples, to be put in Timidity soundfont via Swami. Score the tune in Rosegarden MIDI sequencer and record to a soundfile with your custom soundfont. Qualitatively (by ear) compare the original and MIDI versions. Don't kill yourself trying to make them identical. |
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HW#3 Explore FreqTweak to manipulate live sound in an “engine-like” fashion. Perform an improvisation combining this with live players or demo this as the platform for a sound installation piece. Record a short performance ahead of class. |
Create a new Pd patch for algorithmic interaction. Demo in class. Make a direct audio recording of the patch in action. |
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HW#4 Use Pd to detect an instrumentalist in real time, with the detected dimensions either processing their sound or creating an accompaniment. Explore the fullest range of possible relationships. Compose an etude for solo instrument with another player in the role of Pd assistant (who follows scored instructions). |
Create a new Pd patch for tracking playing on a sawed-off piece of PVC pipe. Use pitch and amplitude detectors to control plucked-string synthesis in real-time. Add section change functionality that works from signal, not from computer keyboard. |
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HW#5 Algorithmic CM & CMN generated score to be accompanied by a CM & CLM generated soundfile. Score for any number of instrumentalists in class. This will be introductory and use “stock” functionality. |
Program in Lisp a CLM function that recreates the “Deep Note” THX logo. Use 500 oscillators. |
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Performance project Present a performance of music using any combination of instruments and class software. Turn in a description and recording online. |
Programming project See the instuctors in advance with a project proposal. Slide show presentation and demo in class plus a web-based report to be turned in online. |
(etudes will be presented in class as indicated and all work should be recorded in advance and turned in online)
Projects presented in class during finals slot. Emailed “reflections” on 5 HW's in the opposite track due – send to cc.
projects