Winter 2006

220b: Synthesis Techniques, Compositional Algorithms, Psychoacoustics and Spatial Processing

* Course Description

This is the second course in the 220 series. It covers some basic sound synthesis techniques not covered in detail last quarter (see 220a), algorithmic composition techniques, spatialization and some psychoacoustics. The course uses the Common Music algorithmic composition environment (written on Common Lisp and Scheme) as the high level computer language for expressing algorithms. Sound output will be taken care of by CLM-3 (Common Lisp Music), a sound synthesis and processing language written in Common Lisp, and by sending MIDI commands to external sound synthesis programs either in realtime or by rendering to MIDI files.

How to submit a homework
Assignment submission track sheet


* Lectures

  Week Tue   Thu   Topic goal Assignment
JAN 1 10 Course overview 12 Lisp, Emacs, SLIME, clm.  

Tutorial on using the 220b programming environment.

Assignment 0 sound check, due Thursday Jan 13 before class.

  2 17 Intro to Lisp, Portmidi and Common Music 19    
  3 24 CM and serial music, CM's real time scheduler 26 Patterns   Assignment 1 due Tue Jan 31
  4 31 Granular Synthesis 2 Modulation Synthesis  
FEB 5 7 Cellular Automata 9 Chaos and Fractals   Understanding fabric...
  6 14 More on fractals and patterns, Markov Chains (and the Foster analysis example), the Sierpinski fractal 16 Digital Filters    
  7 21 Physical Modeling/td> 23 Some musings on tuning   Assignment 2 due Tue Feb 28
  8 28 Spatialization 2 Yet more Spatialization: HRTF  
MAR 9 7 more on spatialization (Ambisonics) 9 Resynthesis  
  16 14 16 Last regular class Wrap-up  

Final projects will be presented during the official "final exam" time:
Thursday, March 23rd, 7:00 to 10:00pm

Main topics that will be covered...

Real-time MIDI processing
Modulation Synthesis
Cellular automata
Granular Synthesis
sampling rate conversion
Common Music Patterns
Spatialization (panning, VBAP, HRTF, doppler shift...)
Chaos, Fractals (applied to algorithmic composition)
Digital Filters and Substractive Synthesis
Physical Modelling
ATS, resynthesis, additive synthesis
Reverberation models. Random processes, State machines,.

Supplementary information and links (Winter 2001), by Chris Burns.


Suplementary texts

* Elements of Computer Music
F. Richard Moore, Prentice Hall, 1990
* The Computer Music Tutorial
Curtis Road, MIT press, 1996
* Musical Sound
John Pierce, Scientific American Books, 1990
* Computer Music: Synthesis, Composition and Performance
Charles Dodge and Thomas Jerse, Schirmer Books, New York, 1985

* Administrative Information

Music 220b meets Tuesdays and Thursdays 10:15am to 11:30am. Winter quarter only, in Wilbur B7 at CCRMA. The course can only be taken for 4 (four) units.

©2001-2006 Fernando Lopez-Lezcano. All Rights Reserved.