Registrar's Listing:
Using computers to build systems that apply algorithmic or stochastic processes to assist in detailed control over timbre and the creation or manipulation of musical structures and spatial properties in real-time. Topics include: Algorithmic and stochastic methods, sound design, FM synthesis, drum programming, spatialization, aesthetics, tool building, musical structures, reverberation, sequencing. Group and project based with lectures. Final live performance. Concepts presented primarily with Max/MSP/Max4Live software.-----------------
This course was designed to be complementary with Music 222: Sound in Space.
-----------------Robert Henke was selcted as the Mohr Visiting Artist for 2013 by the Stanford Department of Music. Special thanks to the Mohr Visiting Artist Program for its generous support in making this course possible.
i build machines. then i step back and watch and listen to what unfolds.
AboutThe goal of 223M is to develop a concept and practical framework for a group concert of up to twenty active participants. This is an ambitious and challenging project, given the short period of time and the complexity of the problem. We approach this by reducing options. We will only use MaxMSP and start with an empty Max patch. We will define what we would like to do and discuss the artistic goals of the project. Then we step by step build the necessary infrastructure for our performance. This includes developing basic yet unique and expressive synthesis tools, pattern generators, and interfaces needed to control those in a performance situation. We will talk a lot about what we want to achieve, and how we can do this with the least possible effort. As a result students will learn how to plan a larger project, how to make best use out of limited resources and how much complexity can arise from combining very basic elements in a thoughtful way. The musical scope of this project is open and depends on what we agree on as a desirable result. As an initial hypothesis we assume it will contain (potentially polyrhythmic) percussion elements, and complex evolving textures. If time permits, we also aim at presenting the concert as a surround sound experience, which includes discussing the reasons and goals behind the usage of multichannel audio in our specific context.
Course Info
Teaching: Robert Henke - Universität der Künst Berlin
Time: Monday Wednesday 3:15 - 5:05 pm
Location: CCRMA Stage
Limited to 20 students.
Some lab time outside of class.