255 - Winter 2002
Instructor: Jonathan Berger
Teaching assistants: Randal Leistikow, Unjung Nam
The goals of this course are to:
It is assumed that you have music theory skills at the level of music 22 or beyond.
In addition, by the end of the course you will be expected to know the mechanics of
sound production and control of each orchestral instrument. Proficiency in notation,
as relavent to orchestration, is also expected.
vagueries of common music notation of timbre
developing terminology for timbre description
issues of time and frequency domain resolution-
economics of the orchestra
constraints of the performing space
analysis of Mahler's reorchestrations
Refinements of the FFT - windowing, filtering
the spectrogram and sonogram
Analyzing the human voice - Cepstral analysis - MFCC
Replicating the human voice
vowels and consonants
orchestrated voices - project goals
diracs and glissandi
readings: March 6th
final project will involve synthesizing the techniques and skills acquired
in the class with an orchestration excercise that will be read by the Stanford
Symphony on March 6 2002.
excercise will involve making the orchestra 'speak' a text by applying
principles of vowel production and spectral analysis to find close approximations
between orchestral sounds and specific consonants and vowels.