https://ccrma.stanford.edu/mediawiki/api.php?action=feedcontributions&user=Tsob&feedformat=atomCCRMA Wiki - User contributions [en]2024-03-28T17:17:08ZUser contributionsMediaWiki 1.24.1https://ccrma.stanford.edu/mediawiki/index.php?title=220b-winter-2017-presentations&diff=19537220b-winter-2017-presentations2017-01-09T23:29:49Z<p>Tsob: </p>
<hr />
<div>Use this page to sign up to present a favorite computer music piece, or music generated with some algorithm! You're required to do this once during the quarter.<br />
<br />
== Week 3 == <br />
<br />
Tues. Jan. 24, 2017<br />
* Your name<br />
<br />
Thurs. Jan. 26, 2017<br />
* Your name<br />
<br />
== Week 4 ==<br />
<br />
Tues. Jan. 31, 2017<br />
* Your name<br />
<br />
Thurs. Feb. 2, 2017<br />
* Your name<br />
<br />
== Week 5 ==<br />
<br />
Tues. Feb. 7, 2017<br />
* Your name<br />
<br />
Thurs. Feb. 9, 2017<br />
* Your name<br />
<br />
== Week 6 ==<br />
<br />
Tues. Feb. 14, 2017<br />
* Your name<br />
<br />
Thurs. Feb. 16, 2017<br />
* Your name<br />
<br />
== Week 7 ==<br />
<br />
Tues. Feb. 21, 2017<br />
* Your name<br />
<br />
Thurs. Feb. 23, 2017<br />
* Your name<br />
<br />
== Week 8 ==<br />
<br />
Tues. Feb. 28, 2017<br />
* Your name<br />
<br />
Thurs. Mar. 2, 2017<br />
* Your name</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=220b-winter-2017-presentations&diff=19536220b-winter-2017-presentations2017-01-09T23:29:14Z<p>Tsob: </p>
<hr />
<div>Use this page to sign up to present a favorite computer music piece, or music generated with some algorithm! You're required to do this once during the quarter.<br />
<br />
== Week 3 == <br />
<br />
Tues. Jan. 24, 2017<br />
* Your name<br />
<br />
Thurs. Jan. 26, 2017<br />
* Your name<br />
<br />
== Week 4 ==<br />
<br />
Tues. Jan. 31, 2017<br />
* Your name<br />
<br />
Thurs. Feb. 2, 2017<br />
* Your name<br />
<br />
<br />
== Week 5 ==<br />
<br />
Tues. Feb. 7, 2017<br />
* Your name<br />
<br />
Thurs. Feb. 9, 2017<br />
* Your name<br />
<br />
== Week 6 ==<br />
<br />
Tues. Feb. 14, 2017<br />
* Your name<br />
<br />
Thurs. Feb. 16, 2017<br />
* Your name<br />
<br />
== Week 7 ==<br />
<br />
Tues. Feb. 21, 2017<br />
* Your name<br />
<br />
Thurs. Feb. 23, 2017<br />
* Your name<br />
<br />
== Week 8 ==<br />
<br />
Tues. Feb. 28, 2017<br />
* Your name<br />
<br />
Thurs. Mar. 2, 2017<br />
* Your name</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=220b-winter-2017-presentations&diff=19535220b-winter-2017-presentations2017-01-09T23:26:30Z<p>Tsob: </p>
<hr />
<div>Use this page to sign up to present a favorite computer music piece, or music generated with some algorithm! You're required to do this once during the quarter.<br />
<br />
== Week 3 == <br />
<br />
* Your name<br />
*<br />
<br />
== Week 4 ==<br />
<br />
* Your name<br />
*<br />
<br />
<br />
== Week 5 ==<br />
<br />
* Your name<br />
*<br />
<br />
== Week 6 ==<br />
<br />
* Your name<br />
*<br />
<br />
== Week 7 ==<br />
<br />
* Your name<br />
*<br />
<br />
== Week 8 ==<br />
<br />
* Your name<br />
*</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=220b-winter-2017-presentations&diff=19534220b-winter-2017-presentations2017-01-09T23:23:57Z<p>Tsob: Created page with "Use this page to sign up to present a favorite computer music piece, or music generated with some algorithm! You're required to do this once during the quarter."</p>
<hr />
<div>Use this page to sign up to present a favorite computer music piece, or music generated with some algorithm! You're required to do this once during the quarter.</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016/Bing_station_layout&diff=19068SLOrk/2016/Bing station layout2016-05-26T05:10:43Z<p>Tsob: </p>
<hr />
<div>Click on the picture on the right to see the layout of SLOrk laptops for the Bing 2016 concert.<br />
[[File:Slork_layout_bing_2016.jpg|200px|thumb]]</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016/Bing_station_layout&diff=19067SLOrk/2016/Bing station layout2016-05-26T05:07:17Z<p>Tsob: Created page with "File:Slork_layout_bing_2016.jpg"</p>
<hr />
<div>[[File:Slork_layout_bing_2016.jpg]]</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=File:Slork_layout_bing_2016.jpg&diff=19066File:Slork layout bing 2016.jpg2016-05-26T05:06:40Z<p>Tsob: Layout of SLOrk laptops for the 2016 Bing concert.</p>
<hr />
<div>Layout of SLOrk laptops for the 2016 Bing concert.</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016/final_groups&diff=19018SLOrk/2016/final groups2016-05-05T06:04:39Z<p>Tsob: </p>
<hr />
<div>From the board of ideas (pictured to the right -- click to enlarge) we came up with these groups (below). Keep in mind:<br />
<br />
[[File:Slork 2016 final board.jpg|thumb]]<br />
<br />
* Feel free to shuffle teams as necessary.<br />
* Topics/ideas are completely malleable. Feel free to mix/match or come up with something new!<br />
* Please have something ready to run for the group next week!<br />
* One station is in the listening room for instrument prototyping.<br />
<br />
==Teams==<br />
* Grid/Boids -- Trijeet, Nathan<br />
* Trolling Siri + Silence & Ringtones -- Ludwig, Kitty, Arushi<br />
* Silent Film -- Paul, Ben<br />
* Musical Chairs & Screaming -- Jack, Giuliano, Alison<br />
* Theme & Degradation OR Competition & Failure -- Chryssie, Sanjay<br />
<br />
[[Category:SLOrk]]</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016/final_groups&diff=19017SLOrk/2016/final groups2016-05-05T06:04:13Z<p>Tsob: Created page with "From the board of ideas (pictured to the right -- click to enlarge) we came up with these groups (below). Keep in mind: thumb * Feel free..."</p>
<hr />
<div>From the board of ideas (pictured to the right -- click to enlarge) we came up with these groups (below). Keep in mind:<br />
<br />
[[File:Slork 2016 final board.jpg|thumb]]<br />
<br />
* Feel free to shuffle teams as necessary.<br />
* Topics/ideas are completely malleable. Feel free to mix/match or come up with something new!<br />
* Please have something ready to run for the group next week!<br />
* One station is in the listening room for instrument prototyping.<br />
<br />
==Teams==<br />
* Grid/Boids -- Trijeet, Nathan<br />
* Trolling Siri + Silence & Ringtones -- Ludwig, Kitty, Arushi<br />
* Silent Film -- Paul, Ben<br />
* Musical Chairs & Screaming -- Jack, Giuliano, Alison<br />
* Theme & Degradation OR Competition & Failure -- Chryssie, Sanjay</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=File:Slork_2016_final_board.jpg&diff=19016File:Slork 2016 final board.jpg2016-05-05T05:59:14Z<p>Tsob: </p>
<hr />
<div></div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016/SLOrktastic_rehearsal_signup&diff=19008SLOrk/2016/SLOrktastic rehearsal signup2016-04-30T00:30:58Z<p>Tsob: /* May 1 */</p>
<hr />
<div>Use this page to sign up for tech. run-throughs during the day of the [https://ccrma.stanford.edu/groups/slork/events/2016/slorktastic/ 2016 SLOrktastic Chamber Music concert]. Include the names of everyone in your group.<br />
<br />
== May 1 ==<br />
* 12:00 PM - Setup with Tim/Ge/Matt. (Help is most welcome! Free lunch?)<br />
* 1:00 PM - OPEN SLOT<br />
* 1:40 PM - OPEN SLOT<br />
* 2:20 PM - OPEN SLOT<br />
* 3:00 PM - OPEN SLOT<br />
* 3:40 PM - OPEN SLOT<br />
* 4:20 PM - Ben / Ludwig / Nathan<br />
* 5:00 PM - Ensemble Feedback Networks</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016/SLOrktastic_rehearsal_signup&diff=19007SLOrk/2016/SLOrktastic rehearsal signup2016-04-30T00:30:15Z<p>Tsob: /* May 1 */</p>
<hr />
<div>Use this page to sign up for tech. run-throughs during the day of the [https://ccrma.stanford.edu/groups/slork/events/2016/slorktastic/ 2016 SLOrktastic Chamber Music concert]. Include the names of everyone in your group.<br />
<br />
== May 1 ==<br />
* 1:00 PM - OPEN SLOT<br />
* 1:40 PM - OPEN SLOT<br />
* 2:20 PM - OPEN SLOT<br />
* 3:00 PM - OPEN SLOT<br />
* 3:40 PM - OPEN SLOT<br />
* 4:20 PM - Ben / Ludwig / Nathan<br />
* 5:00 PM - Ensemble Feedback Networks</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016/SLOrktastic_rehearsal_signup&diff=19003SLOrk/2016/SLOrktastic rehearsal signup2016-04-28T19:11:56Z<p>Tsob: /* May 1 */</p>
<hr />
<div>Use this page to sign up for tech. run-throughs during the day of the [https://ccrma.stanford.edu/groups/slork/events/2016/slorktastic/ 2016 SLOrktastic Chamber Music concert]. Include the names of everyone in your group.<br />
<br />
== May 1 ==<br />
* Time (between 1pm and 6pm) -- Group/names<br />
* 10am - Ben / Ludwig / Nathan</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016&diff=19001SLOrk/20162016-04-27T22:14:25Z<p>Tsob: /* Week 5: (April 27th, May 1st) */ add tech signup</p>
<hr />
<div>[[Image:SLOrk-Dink.jpg]]<br />
<br />
Welcome to this year's '''Music 128 / CS 170: Stanford Laptop Orchestra'''! This wiki is your portal to useful SLOrk-related info. See also the [[SLOrk/2016/FAQ|SLOrk FAQ]] and the [[SLOrk/2016/station_setup|station setup guide]]. Feel free to use our [http://piazza.com/stanford/spring2016/music128cs170 Piazza forum] for rapid communication with the class.<br />
<br />
== Regular Class Meetings ==<br />
Times: Wednesdays, 7:30 pm - 10:20 pm<br />
<br />
Room: CCRMA Stage (Knoll 315)<br />
<br />
== Directors ==<br />
* [https://ccrma.stanford.edu/~ge/ Ge Wang]<br />
* [https://ccrma.stanford.edu/~matt/ Matt Wright], co-director and guest instructor <br />
* [https://ccrma.stanford.edu/~tsob Tim O’Brien], co-director and TA<br />
<br />
== Course Description ==<br />
This course explores composing and coding for, and performance with, laptop orchestra. Topics and activities include issues of instrument design, sound synthesis, programming, composing for laptop orchestra, and live performance. Coursework includes designing laptop-mediated software musical instruments, crafting musical works, and live performance.<br />
<br />
To engage with these ideas most fully, students will write compositions and perform them live in two concerts during the spring quarter.<br />
<br />
== Musical Works ==<br />
Student output in this class will consist of at least 2 musical works (approximately one by the end of the 4th week, and the second by the end of the 8th week) – including instrument design, sound design, programming, and crafting musical presentation – to be first performed in a dress rehearsal in class and then at a public performance. The first musical work will be a piece of ‘chamber music’ (for a small number of players – between 2-4), and the second musical work will be a piece for the full ensemble.<br />
<br />
Pieces typically average 4-7 minutes. Group work is encouraged – multiple students may work on the same composition.<br />
<br />
== Grading ==<br />
The importance of timely attendance and active participation in this class cannot be overstated. As a performance ensemble, we are relying on each other to be present to perform and critique each other’s work. Therefore, by joining this class, you are committing to attending every class period, as well as the following rehearsals/concerts:<br />
<br />
* May 1st – noon-6pm – group rehearsal by piece (by appt)<br />
* May 1st – 6:00pm on – [https://ccrma.stanford.edu/groups/slork/events/2016/slorktastic/ SLOrktastic Chamber Music] (concert at 7:30pm)<br />
* June 1st – 4pm-10pm – dress rehearsal #1 in Bing Concert Hall<br />
* June 2nd – 12pm on – dress rehearsal #2 in Bing Concert Hall ([https://ccrma.stanford.edu/groups/slork/events/2016/spring/ final concert at 8:00pm])<br />
<br />
If you miss a concert or dress rehearsal for any reason other than an excusable emergency, it will result in the lowering of your grade by 2 letter grades. Missing a regular class period will lower it one letter grade; being late for a regular class period will lower it by 1/3 letter grade (e.g. A goes to A-).<br />
<br />
With your attendance grade as the baseline, grades will be modulated by participation. Each class you will receive a ✓ if you come prepared to participate, are attentive in class, and demonstrate progress on your work. If you come and do not participate, are inattentive, or are unprepared, you’ll receive a ✓-. Two ✓-’s will result in the lowering of a full letter grade. ✓+’s may be given out on occasion, and may result in the raising of your final grade.<br />
<br />
You must come to class 30 minutes early (i.e. at 7pm) for at least three (3) class sessions to help set up the equipment. This counts toward your participation grade. You can sign up at this page: [[SLOrk/2016/setup_signup]].<br />
<br />
== Readings ==<br />
The unofficial textbook of the course is Programming for Musicians and Digital Artists: Creating music with ChucK (ISBN: 1617291706). It provides many good examples of features in ChucK, and will be useful for quickly gaining fluency in the language.<br />
<br />
For ChucK beginners, we also recommend Introduction to Programming for Musicians and Digital Artists, an online course from kadenze.com. You can access course videos freely by signing up for a free account at kadenze.com, and then navigating to https://www.kadenze.com/courses/introduction-to-programming-for-musicians-and-digital-artists-iii <br />
<br />
Additionally, you will be engaged in topics such as the embodiment of sound in technology-mediated performance, meaningful instrument interaction between players, and indeed, the point of a laptop orchestra. As such, we’ve amalgamated a short reading list. The readings will be made available on Coursework the week they are assigned. Although we may not necessarily be discussing them directly in class, ideas will be drawn from them to frame activities and discussions in class. They will be good perspective for the course, and indeed, for your musical life.<br />
<br />
=== Laptop Orchestra ===<br />
* [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, D., (2007). “Why a laptop orchestra?” ''Organised Sound''. 12(2), 171-179.]<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood, S., Trueman, S., Cook, P.R., Wang, G., (2008). "Composing for laptop orchestra." ''Computer Music Journal''. 32(1), 9-25.]<br />
* [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink, R., Wang, G., Cook, P.R.. “Don't Forget the Laptop: Using Native Input Capabilities for Expressive Musical Control”. In ''Proceedings of New Interfaces for Musical Expression'', 2007.]<br />
<br />
=== Gesture in Performance ===<br />
* [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, A. (1999). “Bodily Hearing: Physiological Metaphors and Musical Understanding. ''Journal of Music Theory''. 43(1), 1-19.]<br />
* Godøy, R. I. "Gestural Affordances of Musical Sound," in Musical Gestures: Sound, Movement, and Meaning, ed. Rolf Inge Godøy and Marc Leman (Routledge, 2010). pp 103-125.<br />
<br />
=== Other ===<br />
* Cook, N. Inaugural Lecture at the University of Cambridge.<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320582945 Wessel, David, and Matthew Wright. "Problems and prospects for intimate musical control of computers." Computer Music Journal 26.3 (2002): 11-22.]<br />
* [http://www.nime.org/proceedings/2015/nime2015_329.pdf Wan Rosli et al. “Ensemble Feedback Networks,” in Proceedings of the International Conference on New Interfaces for Musical Expression, Baton Rouge, Louisiana, USA, 2015, pp. 144-149.]<br />
<br />
== Dress Code ==<br />
For concerts, the dress code will be concert black, colored socks optional.<br />
<br />
== Accommodations ==<br />
If you need accommodations for any physical, psychological, or learning disability, or if you want to inform me about a medical situation, please speak to me (Ge) outside of class.<br />
<br />
== Weekly Schedule (subject to change) ==<br />
<br />
=== Week 1: Introduction (March 30th) ===<br />
Syllabus discussion, introduction to the ideas of laptop orchestra, [[SLOrk/2016/station_setup|how to set up laptop orchestra gear]]. Learn pieces from the laptop orchestra repertoire, first ChucK instrument example.<br />
* Homework: Create a short solo musical work/statement for one station.<br />
* Reading: [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, 2007]; [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink ''et al.'', 2007].<br />
<br />
=== Week 2: (April 6th) ===<br />
Initial instrument design presentation and critique; each person to give a mini-performance of 1-2 minutes; presentation on physical interaction design.<br />
* Homework: Milestone 1.<br />
* Reading: [http://www.mitpressjournals.org.ezproxy.stanford.edu/doi/pdf/10.1162/014892602320582945 Wessel and Wright, 2002].<br />
<br />
=== Week 3: (April 13th) ===<br />
SLOrktastic milestone #1: initial work in-progress of piece; 3 minute performance.<br />
* Homework: Milestone 2.<br />
* Reading: TBA<br />
<br />
=== Week 4: (April 20th) ===<br />
SLOrktastic milestone #2: complete composition/performance.<br />
* Homework: Polish your piece – the concert is next week!<br />
<br />
=== Week 5: (April 27th, May 1st) ===<br />
<br />
April 27th: Dress rehearsal of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
May 1st: [[SLOrk/2016/SLOrktastic_rehearsal_signup|Tech run-through during the day (by appt)]]. 6:00pm call (dinner provided) for 7:30pm [https://ccrma.stanford.edu/groups/slork/events/2016/slorktastic/ SLOrktastic Chamber Music Concert]. Invite your friends!<br />
* Homework: Proposal / sketch for final musical work.<br />
* Reading: [http://www.nime.org/proceedings/2015/nime2015_329.pdf Wan Rosli et al. 2015]<br />
<br />
=== Week 6: (May 4th) ===<br />
Proposal & sketch for final composition/performance; strategies and tools; networking.<br />
* Homework: Final Milestone #1<br />
* Reading: Cook, N.<br />
<br />
=== Week 7: (May 11th) ===<br />
Final Milestone #1: initial full ensemble rehearsal for each piece in-progress<br />
* Homework: Final Milestone #2<br />
<br />
=== Week 8: (May 18th) ===<br />
Final Milestone #2: full ensemble rehearsal for complete piece in-progress, with score presentation as you see fit.<br />
* Homework: Polish your work!<br />
<br />
=== Week 9: (May 25th) ===<br />
<br />
Normal class period, last workshopping and rehearsal of pieces for the [https://ccrma.stanford.edu/groups/slork/events/2016/spring/ Bing concert]. The pieces should be finished by this date; this rehearsal will be focused on ensemble coordination and performance.<br />
<br />
=== Week 10: (June 1st, June 2nd) ===<br />
<br />
June 1st:<br />
* 4pm-10pm Dress rehearsal #1 of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
June 2nd:<br />
* 12pm: Dress rehearsal #2 of pieces for the performance (schedule and order to be emailed by day previous)<br />
* 7:30pm: [https://ccrma.stanford.edu/groups/slork/events/2016/spring/ SLOrk @ Bing 2015 (Spring Concert)]<br />
<br />
[[Category: SLOrk]]</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016/SLOrktastic_rehearsal_signup&diff=19000SLOrk/2016/SLOrktastic rehearsal signup2016-04-27T22:12:28Z<p>Tsob: Created page with "Use this page to sign up for tech. run-throughs during the day of the [https://ccrma.stanford.edu/groups/slork/events/2016/slorktastic/ 2016 SLOrktastic Chamber Music concert]..."</p>
<hr />
<div>Use this page to sign up for tech. run-throughs during the day of the [https://ccrma.stanford.edu/groups/slork/events/2016/slorktastic/ 2016 SLOrktastic Chamber Music concert]. Include the names of everyone in your group.<br />
<br />
== May 1 ==<br />
* Time (between 10am and 6pm) -- Group/names</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016&diff=18993SLOrk/20162016-04-24T19:23:49Z<p>Tsob: /* Week 5: (April 27th, May 1st) */</p>
<hr />
<div>[[Image:SLOrk-Dink.jpg]]<br />
<br />
Welcome to this year's '''Music 128 / CS 170: Stanford Laptop Orchestra'''! This wiki is your portal to useful SLOrk-related info. See also the [[SLOrk/2016/FAQ|SLOrk FAQ]] and the [[SLOrk/2016/station_setup|station setup guide]]. Feel free to use our [http://piazza.com/stanford/spring2016/music128cs170 Piazza forum] for rapid communication with the class.<br />
<br />
== Regular Class Meetings ==<br />
Times: Wednesdays, 7:30 pm - 10:20 pm<br />
<br />
Room: CCRMA Stage (Knoll 315)<br />
<br />
== Directors ==<br />
* [https://ccrma.stanford.edu/~ge/ Ge Wang]<br />
* [https://ccrma.stanford.edu/~matt/ Matt Wright], co-director and guest instructor <br />
* [https://ccrma.stanford.edu/~tsob Tim O’Brien], co-director and TA<br />
<br />
== Course Description ==<br />
This course explores composing and coding for, and performance with, laptop orchestra. Topics and activities include issues of instrument design, sound synthesis, programming, composing for laptop orchestra, and live performance. Coursework includes designing laptop-mediated software musical instruments, crafting musical works, and live performance.<br />
<br />
To engage with these ideas most fully, students will write compositions and perform them live in two concerts during the spring quarter.<br />
<br />
== Musical Works ==<br />
Student output in this class will consist of at least 2 musical works (approximately one by the end of the 4th week, and the second by the end of the 8th week) – including instrument design, sound design, programming, and crafting musical presentation – to be first performed in a dress rehearsal in class and then at a public performance. The first musical work will be a piece of ‘chamber music’ (for a small number of players – between 2-4), and the second musical work will be a piece for the full ensemble.<br />
<br />
Pieces typically average 4-7 minutes. Group work is encouraged – multiple students may work on the same composition.<br />
<br />
== Grading ==<br />
The importance of timely attendance and active participation in this class cannot be overstated. As a performance ensemble, we are relying on each other to be present to perform and critique each other’s work. Therefore, by joining this class, you are committing to attending every class period, as well as the following rehearsals/concerts:<br />
<br />
* May 1st – noon-6pm – group rehearsal by piece (by appt)<br />
* May 1st – 6:00pm on – [https://ccrma.stanford.edu/groups/slork/events/2016/slorktastic/ SLOrktastic Chamber Music] (concert at 7:30pm)<br />
* June 1st – 4pm-10pm – dress rehearsal #1 in Bing Concert Hall<br />
* June 2nd – 12pm on – dress rehearsal #2 in Bing Concert Hall ([https://ccrma.stanford.edu/groups/slork/events/2016/spring/ final concert at 8:00pm])<br />
<br />
If you miss a concert or dress rehearsal for any reason other than an excusable emergency, it will result in the lowering of your grade by 2 letter grades. Missing a regular class period will lower it one letter grade; being late for a regular class period will lower it by 1/3 letter grade (e.g. A goes to A-).<br />
<br />
With your attendance grade as the baseline, grades will be modulated by participation. Each class you will receive a ✓ if you come prepared to participate, are attentive in class, and demonstrate progress on your work. If you come and do not participate, are inattentive, or are unprepared, you’ll receive a ✓-. Two ✓-’s will result in the lowering of a full letter grade. ✓+’s may be given out on occasion, and may result in the raising of your final grade.<br />
<br />
You must come to class 30 minutes early (i.e. at 7pm) for at least three (3) class sessions to help set up the equipment. This counts toward your participation grade. You can sign up at this page: [[SLOrk/2016/setup_signup]].<br />
<br />
== Readings ==<br />
The unofficial textbook of the course is Programming for Musicians and Digital Artists: Creating music with ChucK (ISBN: 1617291706). It provides many good examples of features in ChucK, and will be useful for quickly gaining fluency in the language.<br />
<br />
For ChucK beginners, we also recommend Introduction to Programming for Musicians and Digital Artists, an online course from kadenze.com. You can access course videos freely by signing up for a free account at kadenze.com, and then navigating to https://www.kadenze.com/courses/introduction-to-programming-for-musicians-and-digital-artists-iii <br />
<br />
Additionally, you will be engaged in topics such as the embodiment of sound in technology-mediated performance, meaningful instrument interaction between players, and indeed, the point of a laptop orchestra. As such, we’ve amalgamated a short reading list. The readings will be made available on Coursework the week they are assigned. Although we may not necessarily be discussing them directly in class, ideas will be drawn from them to frame activities and discussions in class. They will be good perspective for the course, and indeed, for your musical life.<br />
<br />
=== Laptop Orchestra ===<br />
* [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, D., (2007). “Why a laptop orchestra?” ''Organised Sound''. 12(2), 171-179.]<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood, S., Trueman, S., Cook, P.R., Wang, G., (2008). "Composing for laptop orchestra." ''Computer Music Journal''. 32(1), 9-25.]<br />
* [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink, R., Wang, G., Cook, P.R.. “Don't Forget the Laptop: Using Native Input Capabilities for Expressive Musical Control”. In ''Proceedings of New Interfaces for Musical Expression'', 2007.]<br />
<br />
=== Gesture in Performance ===<br />
* [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, A. (1999). “Bodily Hearing: Physiological Metaphors and Musical Understanding. ''Journal of Music Theory''. 43(1), 1-19.]<br />
* Godøy, R. I. "Gestural Affordances of Musical Sound," in Musical Gestures: Sound, Movement, and Meaning, ed. Rolf Inge Godøy and Marc Leman (Routledge, 2010). pp 103-125.<br />
<br />
=== Other ===<br />
* Cook, N. Inaugural Lecture at the University of Cambridge.<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320582945 Wessel, David, and Matthew Wright. "Problems and prospects for intimate musical control of computers." Computer Music Journal 26.3 (2002): 11-22.]<br />
* [http://www.nime.org/proceedings/2015/nime2015_329.pdf Wan Rosli et al. “Ensemble Feedback Networks,” in Proceedings of the International Conference on New Interfaces for Musical Expression, Baton Rouge, Louisiana, USA, 2015, pp. 144-149.]<br />
<br />
== Dress Code ==<br />
For concerts, the dress code will be concert black, colored socks optional.<br />
<br />
== Accommodations ==<br />
If you need accommodations for any physical, psychological, or learning disability, or if you want to inform me about a medical situation, please speak to me (Ge) outside of class.<br />
<br />
== Weekly Schedule (subject to change) ==<br />
<br />
=== Week 1: Introduction (March 30th) ===<br />
Syllabus discussion, introduction to the ideas of laptop orchestra, [[SLOrk/2016/station_setup|how to set up laptop orchestra gear]]. Learn pieces from the laptop orchestra repertoire, first ChucK instrument example.<br />
* Homework: Create a short solo musical work/statement for one station.<br />
* Reading: [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, 2007]; [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink ''et al.'', 2007].<br />
<br />
=== Week 2: (April 6th) ===<br />
Initial instrument design presentation and critique; each person to give a mini-performance of 1-2 minutes; presentation on physical interaction design.<br />
* Homework: Milestone 1.<br />
* Reading: [http://www.mitpressjournals.org.ezproxy.stanford.edu/doi/pdf/10.1162/014892602320582945 Wessel and Wright, 2002].<br />
<br />
=== Week 3: (April 13th) ===<br />
SLOrktastic milestone #1: initial work in-progress of piece; 3 minute performance.<br />
* Homework: Milestone 2.<br />
* Reading: TBA<br />
<br />
=== Week 4: (April 20th) ===<br />
SLOrktastic milestone #2: complete composition/performance.<br />
* Homework: Polish your piece – the concert is next week!<br />
<br />
=== Week 5: (April 27th, May 1st) ===<br />
<br />
April 27th: Dress rehearsal of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
May 1st: Tech run-through during the day (by appt). 6:00pm call (dinner provided) for 7:30pm [https://ccrma.stanford.edu/groups/slork/events/2016/slorktastic/ SLOrktastic Chamber Music Concert]. Invite your friends!<br />
* Homework: Proposal / sketch for final musical work.<br />
* Reading: [http://www.nime.org/proceedings/2015/nime2015_329.pdf Wan Rosli et al. 2015]<br />
<br />
=== Week 6: (May 4th) ===<br />
Proposal & sketch for final composition/performance; strategies and tools; networking.<br />
* Homework: Final Milestone #1<br />
* Reading: Cook, N.<br />
<br />
=== Week 7: (May 11th) ===<br />
Final Milestone #1: initial full ensemble rehearsal for each piece in-progress<br />
* Homework: Final Milestone #2<br />
<br />
=== Week 8: (May 18th) ===<br />
Final Milestone #2: full ensemble rehearsal for complete piece in-progress, with score presentation as you see fit.<br />
* Homework: Polish your work!<br />
<br />
=== Week 9: (May 25th) ===<br />
<br />
Normal class period, last workshopping and rehearsal of pieces for the [https://ccrma.stanford.edu/groups/slork/events/2016/spring/ Bing concert]. The pieces should be finished by this date; this rehearsal will be focused on ensemble coordination and performance.<br />
<br />
=== Week 10: (June 1st, June 2nd) ===<br />
<br />
June 1st:<br />
* 4pm-10pm Dress rehearsal #1 of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
June 2nd:<br />
* 12pm: Dress rehearsal #2 of pieces for the performance (schedule and order to be emailed by day previous)<br />
* 7:30pm: [https://ccrma.stanford.edu/groups/slork/events/2016/spring/ SLOrk @ Bing 2015 (Spring Concert)]<br />
<br />
[[Category: SLOrk]]</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016&diff=18970SLOrk/20162016-04-09T19:19:13Z<p>Tsob: /* Week 2: (April 6th) */ update link for ezproxy, enabling off-campus access</p>
<hr />
<div>[[Image:SLOrk-Dink.jpg]]<br />
<br />
Welcome to this year's '''Music 128 / CS 170: Stanford Laptop Orchestra'''! This wiki is your portal to useful SLOrk-related info. See also the [[SLOrk/2016/FAQ|SLOrk FAQ]] and the [[SLOrk/2016/station_setup|station setup guide]]. Feel free to use our [http://piazza.com/stanford/spring2016/music128cs170 Piazza forum] for rapid communication with the class.<br />
<br />
== Regular Class Meetings ==<br />
Times: Wednesdays, 7:30 pm - 10:20 pm<br />
<br />
Room: CCRMA Stage (Knoll 315)<br />
<br />
== Directors ==<br />
* [https://ccrma.stanford.edu/~ge/ Ge Wang]<br />
* [https://ccrma.stanford.edu/~matt/ Matt Wright], co-director and guest instructor <br />
* [https://ccrma.stanford.edu/~tsob Tim O’Brien], co-director and TA<br />
<br />
== Course Description ==<br />
This course explores composing and coding for, and performance with, laptop orchestra. Topics and activities include issues of instrument design, sound synthesis, programming, composing for laptop orchestra, and live performance. Coursework includes designing laptop-mediated software musical instruments, crafting musical works, and live performance.<br />
<br />
To engage with these ideas most fully, students will write compositions and perform them live in two concerts during the spring quarter.<br />
<br />
== Musical Works ==<br />
Student output in this class will consist of at least 2 musical works (approximately one by the end of the 4th week, and the second by the end of the 8th week) – including instrument design, sound design, programming, and crafting musical presentation – to be first performed in a dress rehearsal in class and then at a public performance. The first musical work will be a piece of ‘chamber music’ (for a small number of players – between 2-4), and the second musical work will be a piece for the full ensemble.<br />
<br />
Pieces typically average 4-7 minutes. Group work is encouraged – multiple students may work on the same composition.<br />
<br />
== Grading ==<br />
The importance of timely attendance and active participation in this class cannot be overstated. As a performance ensemble, we are relying on each other to be present to perform and critique each other’s work. Therefore, by joining this class, you are committing to attending every class period, as well as the following rehearsals/concerts:<br />
<br />
* May 1st – noon-6pm – group rehearsal by piece (by appt)<br />
* May 1st – 6:00pm on – [https://ccrma.stanford.edu/groups/slork/events/2016/slorktastic/ SLOrktastic Chamber Music] (concert at 7:30pm)<br />
* June 1st – 4pm-10pm – dress rehearsal #1 in Bing Concert Hall<br />
* June 2nd – 12pm on – dress rehearsal #2 in Bing Concert Hall ([https://ccrma.stanford.edu/groups/slork/events/2016/spring/ final concert at 8:00pm])<br />
<br />
If you miss a concert or dress rehearsal for any reason other than an excusable emergency, it will result in the lowering of your grade by 2 letter grades. Missing a regular class period will lower it one letter grade; being late for a regular class period will lower it by 1/3 letter grade (e.g. A goes to A-).<br />
<br />
With your attendance grade as the baseline, grades will be modulated by participation. Each class you will receive a ✓ if you come prepared to participate, are attentive in class, and demonstrate progress on your work. If you come and do not participate, are inattentive, or are unprepared, you’ll receive a ✓-. Two ✓-’s will result in the lowering of a full letter grade. ✓+’s may be given out on occasion, and may result in the raising of your final grade.<br />
<br />
You must come to class 30 minutes early (i.e. at 7pm) for at least three (3) class sessions to help set up the equipment. This counts toward your participation grade. You can sign up at this page: [[SLOrk/2016/setup_signup]].<br />
<br />
== Readings ==<br />
The unofficial textbook of the course is Programming for Musicians and Digital Artists: Creating music with ChucK (ISBN: 1617291706). It provides many good examples of features in ChucK, and will be useful for quickly gaining fluency in the language.<br />
<br />
For ChucK beginners, we also recommend Introduction to Programming for Musicians and Digital Artists, an online course from kadenze.com. You can access course videos freely by signing up for a free account at kadenze.com, and then navigating to https://www.kadenze.com/courses/introduction-to-programming-for-musicians-and-digital-artists-iii <br />
<br />
Additionally, you will be engaged in topics such as the embodiment of sound in technology-mediated performance, meaningful instrument interaction between players, and indeed, the point of a laptop orchestra. As such, we’ve amalgamated a short reading list. The readings will be made available on Coursework the week they are assigned. Although we may not necessarily be discussing them directly in class, ideas will be drawn from them to frame activities and discussions in class. They will be good perspective for the course, and indeed, for your musical life.<br />
<br />
=== Laptop Orchestra ===<br />
* [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, D., (2007). “Why a laptop orchestra?” ''Organised Sound''. 12(2), 171-179.]<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood, S., Trueman, S., Cook, P.R., Wang, G., (2008). "Composing for laptop orchestra." ''Computer Music Journal''. 32(1), 9-25.]<br />
* [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink, R., Wang, G., Cook, P.R.. “Don't Forget the Laptop: Using Native Input Capabilities for Expressive Musical Control”. In ''Proceedings of New Interfaces for Musical Expression'', 2007.]<br />
<br />
=== Gesture in Performance ===<br />
* [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, A. (1999). “Bodily Hearing: Physiological Metaphors and Musical Understanding. ''Journal of Music Theory''. 43(1), 1-19.]<br />
* Godøy, R. I. "Gestural Affordances of Musical Sound," in Musical Gestures: Sound, Movement, and Meaning, ed. Rolf Inge Godøy and Marc Leman (Routledge, 2010). pp 103-125.<br />
<br />
=== Other ===<br />
* Cook, N. Inaugural Lecture at the University of Cambridge.<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320582945 Wessel, David, and Matthew Wright. "Problems and prospects for intimate musical control of computers." Computer Music Journal 26.3 (2002): 11-22.]<br />
* [http://www.nime.org/proceedings/2015/nime2015_329.pdf Wan Rosli et al. “Ensemble Feedback Networks,” in Proceedings of the International Conference on New Interfaces for Musical Expression, Baton Rouge, Louisiana, USA, 2015, pp. 144-149.]<br />
<br />
== Dress Code ==<br />
For concerts, the dress code will be concert black, colored socks optional.<br />
<br />
== Accommodations ==<br />
If you need accommodations for any physical, psychological, or learning disability, or if you want to inform me about a medical situation, please speak to me (Ge) outside of class.<br />
<br />
== Weekly Schedule (subject to change) ==<br />
<br />
=== Week 1: Introduction (March 30th) ===<br />
Syllabus discussion, introduction to the ideas of laptop orchestra, [[SLOrk/2016/station_setup|how to set up laptop orchestra gear]]. Learn pieces from the laptop orchestra repertoire, first ChucK instrument example.<br />
* Homework: Create a short solo musical work/statement for one station.<br />
* Reading: [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, 2007]; [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink ''et al.'', 2007].<br />
<br />
=== Week 2: (April 6th) ===<br />
Initial instrument design presentation and critique; each person to give a mini-performance of 1-2 minutes; presentation on physical interaction design.<br />
* Homework: Milestone 1.<br />
* Reading: [http://www.mitpressjournals.org.ezproxy.stanford.edu/doi/pdf/10.1162/014892602320582945 Wessel and Wright, 2002].<br />
<br />
=== Week 3: (April 13th) ===<br />
SLOrktastic milestone #1: initial work in-progress of piece; 3 minute performance.<br />
* Homework: Milestone 2.<br />
* Reading: TBA<br />
<br />
=== Week 4: (April 20th) ===<br />
SLOrktastic milestone #2: complete composition/performance.<br />
* Homework: Polish your piece – the concert is next week!<br />
<br />
=== Week 5: (April 27th, May 1st) ===<br />
<br />
April 27th: Dress rehearsal of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
May 1st: Tech run-through during the day (by appt). 6:00pm call (dinner provided) for 7:30pm [https://ccrma.stanford.edu/groups/slork/events/2016/slorktastic/ SLOrktastic Chamber Music Concert]. Invite your friends!<br />
* Homework: Proposal / sketch for final musical work.<br />
* Reading: [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood et al., 2008].<br />
<br />
=== Week 6: (May 4th) ===<br />
Proposal & sketch for final composition/performance; strategies and tools; networking.<br />
* Homework: Final Milestone #1<br />
* Reading: Cook, N.<br />
<br />
=== Week 7: (May 11th) ===<br />
Final Milestone #1: initial full ensemble rehearsal for each piece in-progress<br />
* Homework: Final Milestone #2<br />
<br />
=== Week 8: (May 18th) ===<br />
Final Milestone #2: full ensemble rehearsal for complete piece in-progress, with score presentation as you see fit.<br />
* Homework: Polish your work!<br />
<br />
=== Week 9: (May 25th) ===<br />
<br />
Normal class period, last workshopping and rehearsal of pieces for the [https://ccrma.stanford.edu/groups/slork/events/2016/spring/ Bing concert]. The pieces should be finished by this date; this rehearsal will be focused on ensemble coordination and performance.<br />
<br />
=== Week 10: (June 1st, June 2nd) ===<br />
<br />
June 1st:<br />
* 4pm-10pm Dress rehearsal #1 of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
June 2nd:<br />
* 12pm: Dress rehearsal #2 of pieces for the performance (schedule and order to be emailed by day previous)<br />
* 7:30pm: [https://ccrma.stanford.edu/groups/slork/events/2016/spring/ SLOrk @ Bing 2015 (Spring Concert)]<br />
<br />
[[Category: SLOrk]]</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016&diff=18945SLOrk/20162016-04-06T22:26:45Z<p>Tsob: /* Week 2: (April 6th) */ update reading for week 2</p>
<hr />
<div>[[Image:SLOrk-Dink.jpg]]<br />
<br />
Welcome to this year's '''Music 128 / CS 170: Stanford Laptop Orchestra'''! This wiki is your portal to useful SLOrk-related info. See also the [[SLOrk/2016/FAQ|SLOrk FAQ]] and the [[SLOrk/2016/station_setup|station setup guide]]. Feel free to use our [http://piazza.com/stanford/spring2016/music128cs170 Piazza forum] for rapid communication with the class.<br />
<br />
== Regular Class Meetings ==<br />
Times: Wednesdays, 7:30 pm - 10:20 pm<br />
<br />
Room: CCRMA Stage (Knoll 315)<br />
<br />
== Directors ==<br />
* [https://ccrma.stanford.edu/~ge/ Ge Wang]<br />
* [https://ccrma.stanford.edu/~matt/ Matt Wright], co-director and guest instructor <br />
* [https://ccrma.stanford.edu/~tsob Tim O’Brien], co-director and TA<br />
<br />
== Course Description ==<br />
This course explores composing and coding for, and performance with, laptop orchestra. Topics and activities include issues of instrument design, sound synthesis, programming, composing for laptop orchestra, and live performance. Coursework includes designing laptop-mediated software musical instruments, crafting musical works, and live performance.<br />
<br />
To engage with these ideas most fully, students will write compositions and perform them live in two concerts during the spring quarter.<br />
<br />
== Musical Works ==<br />
Student output in this class will consist of at least 2 musical works (approximately one by the end of the 4th week, and the second by the end of the 8th week) – including instrument design, sound design, programming, and crafting musical presentation – to be first performed in a dress rehearsal in class and then at a public performance. The first musical work will be a piece of ‘chamber music’ (for a small number of players – between 2-4), and the second musical work will be a piece for the full ensemble.<br />
<br />
Pieces typically average 4-7 minutes. Group work is encouraged – multiple students may work on the same composition.<br />
<br />
== Grading ==<br />
The importance of timely attendance and active participation in this class cannot be overstated. As a performance ensemble, we are relying on each other to be present to perform and critique each other’s work. Therefore, by joining this class, you are committing to attending every class period, as well as the following rehearsals/concerts:<br />
<br />
* May 1st – noon-6pm – group rehearsal by piece (by appt)<br />
* May 1st – 6:00pm on – [https://ccrma.stanford.edu/groups/slork/events/2016/slorktastic/ SLOrktastic Chamber Music] (concert at 7:30pm)<br />
* June 1st – 4pm-10pm – dress rehearsal #1 in Bing Concert Hall<br />
* June 2nd – 12pm on – dress rehearsal #2 in Bing Concert Hall ([https://ccrma.stanford.edu/groups/slork/events/2016/spring/ final concert at 8:00pm])<br />
<br />
If you miss a concert or dress rehearsal for any reason other than an excusable emergency, it will result in the lowering of your grade by 2 letter grades. Missing a regular class period will lower it one letter grade; being late for a regular class period will lower it by 1/3 letter grade (e.g. A goes to A-).<br />
<br />
With your attendance grade as the baseline, grades will be modulated by participation. Each class you will receive a ✓ if you come prepared to participate, are attentive in class, and demonstrate progress on your work. If you come and do not participate, are inattentive, or are unprepared, you’ll receive a ✓-. Two ✓-’s will result in the lowering of a full letter grade. ✓+’s may be given out on occasion, and may result in the raising of your final grade.<br />
<br />
You must come to class 30 minutes early (i.e. at 7pm) for at least three (3) class sessions to help set up the equipment. This counts toward your participation grade. You can sign up at this page: [[SLOrk/2016/setup_signup]].<br />
<br />
== Readings ==<br />
The unofficial textbook of the course is Programming for Musicians and Digital Artists: Creating music with ChucK (ISBN: 1617291706). It provides many good examples of features in ChucK, and will be useful for quickly gaining fluency in the language.<br />
<br />
For ChucK beginners, we also recommend Introduction to Programming for Musicians and Digital Artists, an online course from kadenze.com. You can access course videos freely by signing up for a free account at kadenze.com, and then navigating to https://www.kadenze.com/courses/introduction-to-programming-for-musicians-and-digital-artists-iii <br />
<br />
Additionally, you will be engaged in topics such as the embodiment of sound in technology-mediated performance, meaningful instrument interaction between players, and indeed, the point of a laptop orchestra. As such, we’ve amalgamated a short reading list. The readings will be made available on Coursework the week they are assigned. Although we may not necessarily be discussing them directly in class, ideas will be drawn from them to frame activities and discussions in class. They will be good perspective for the course, and indeed, for your musical life.<br />
<br />
=== Laptop Orchestra ===<br />
* [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, D., (2007). “Why a laptop orchestra?” ''Organised Sound''. 12(2), 171-179.]<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood, S., Trueman, S., Cook, P.R., Wang, G., (2008). "Composing for laptop orchestra." ''Computer Music Journal''. 32(1), 9-25.]<br />
* [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink, R., Wang, G., Cook, P.R.. “Don't Forget the Laptop: Using Native Input Capabilities for Expressive Musical Control”. In ''Proceedings of New Interfaces for Musical Expression'', 2007.]<br />
<br />
=== Gesture in Performance ===<br />
* [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, A. (1999). “Bodily Hearing: Physiological Metaphors and Musical Understanding. ''Journal of Music Theory''. 43(1), 1-19.]<br />
* Godøy, R. I. "Gestural Affordances of Musical Sound," in Musical Gestures: Sound, Movement, and Meaning, ed. Rolf Inge Godøy and Marc Leman (Routledge, 2010). pp 103-125.<br />
<br />
=== Other ===<br />
* Cook, N. Inaugural Lecture at the University of Cambridge.<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320582945 Wessel, David, and Matthew Wright. "Problems and prospects for intimate musical control of computers." Computer Music Journal 26.3 (2002): 11-22.]<br />
* [http://www.nime.org/proceedings/2015/nime2015_329.pdf Wan Rosli et al. “Ensemble Feedback Networks,” in Proceedings of the International Conference on New Interfaces for Musical Expression, Baton Rouge, Louisiana, USA, 2015, pp. 144-149.]<br />
<br />
== Dress Code ==<br />
For concerts, the dress code will be concert black, colored socks optional.<br />
<br />
== Accommodations ==<br />
If you need accommodations for any physical, psychological, or learning disability, or if you want to inform me about a medical situation, please speak to me (Ge) outside of class.<br />
<br />
== Weekly Schedule (subject to change) ==<br />
<br />
=== Week 1: Introduction (March 30th) ===<br />
Syllabus discussion, introduction to the ideas of laptop orchestra, [[SLOrk/2016/station_setup|how to set up laptop orchestra gear]]. Learn pieces from the laptop orchestra repertoire, first ChucK instrument example.<br />
* Homework: Create a short solo musical work/statement for one station.<br />
* Reading: [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, 2007]; [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink ''et al.'', 2007].<br />
<br />
=== Week 2: (April 6th) ===<br />
Initial instrument design presentation and critique; each person to give a mini-performance of 1-2 minutes; presentation on physical interaction design.<br />
* Homework: Milestone 1.<br />
* Reading: [http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320582945 Wessel and Wright, 2002].<br />
<br />
=== Week 3: (April 13th) ===<br />
SLOrktastic milestone #1: initial work in-progress of piece; 3 minute performance.<br />
* Homework: Milestone 2.<br />
* Reading: TBA<br />
<br />
=== Week 4: (April 20th) ===<br />
SLOrktastic milestone #2: complete composition/performance.<br />
* Homework: Polish your piece – the concert is next week!<br />
<br />
=== Week 5: (April 27th, May 1st) ===<br />
<br />
April 27th: Dress rehearsal of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
May 1st: Tech run-through during the day (by appt). 6:00pm call (dinner provided) for 7:30pm [https://ccrma.stanford.edu/groups/slork/events/2016/slorktastic/ SLOrktastic Chamber Music Concert]. Invite your friends!<br />
* Homework: Proposal / sketch for final musical work.<br />
* Reading: [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood et al., 2008].<br />
<br />
=== Week 6: (May 4th) ===<br />
Proposal & sketch for final composition/performance; strategies and tools; networking.<br />
* Homework: Final Milestone #1<br />
* Reading: Cook, N.<br />
<br />
=== Week 7: (May 11th) ===<br />
Final Milestone #1: initial full ensemble rehearsal for each piece in-progress<br />
* Homework: Final Milestone #2<br />
<br />
=== Week 8: (May 18th) ===<br />
Final Milestone #2: full ensemble rehearsal for complete piece in-progress, with score presentation as you see fit.<br />
* Homework: Polish your work!<br />
<br />
=== Week 9: (May 25th) ===<br />
<br />
Normal class period, last workshopping and rehearsal of pieces for the [https://ccrma.stanford.edu/groups/slork/events/2016/spring/ Bing concert]. The pieces should be finished by this date; this rehearsal will be focused on ensemble coordination and performance.<br />
<br />
=== Week 10: (June 1st, June 2nd) ===<br />
<br />
June 1st:<br />
* 4pm-10pm Dress rehearsal #1 of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
June 2nd:<br />
* 12pm: Dress rehearsal #2 of pieces for the performance (schedule and order to be emailed by day previous)<br />
* 7:30pm: [https://ccrma.stanford.edu/groups/slork/events/2016/spring/ SLOrk @ Bing 2015 (Spring Concert)]<br />
<br />
[[Category: SLOrk]]</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016/FAQ&diff=18941SLOrk/2016/FAQ2016-04-06T19:37:29Z<p>Tsob: /* How do I set up ChucK to use 6 channels? */</p>
<hr />
<div>FAQ and useful info for your SLOrk experience is here.<br />
<br />
== What's with the caps lock? ==<br />
<br />
On SLOrk machines, the "caps lock" key is instead a(nother) control key.<br />
<br />
== SLOrk Code Repository ==<br />
<br />
We use SVN to save all SLOrk code, from the beginning of time. You'll put yours there too!<br />
<br />
Each SLOrk laptop has a copy of this repository at <code>/Users/slork/slork</code>. The master repository is hosted at [https://chuck-dev.stanford.edu/svn/slork/trunk https://chuck-dev.stanford.edu/svn/slork/trunk].<br />
<br />
To update everything in the SLOrk repository, simply open a terminal and type <code>sup</code>. This performs <code>cd ~/slork && svn update</code>, ''i.e.'' go to root of your SLOrk repository directory and update all. You can also update only certain directories by navigating to them in terminal, and then typing <code>svn update</code>.<br />
<br />
== ChucK: version and setup ==<br />
We use ChucK '''1.3.5.3-dev'''. This is conveniently available in our SVN repo (see above), and is installed on each laptop at <code>~/slork/bin/chuck</code><br />
<br />
To test and fix a wrong chuck version:<br />
<br />
albacore:slork slork$ which chuck<br />
/usr/bin/chuck<br />
albacore:slork slork$ ls -l /usr/bin/chuck <br />
-rwxr-xr-x 1 root wheel 5229644 Apr 22 2015 /usr/bin/chuck<br />
We don't want that one!<br />
albacore:slork slork$ sudo rm /usr/bin/chuck<br />
Password:<br />
albacore:slork slork$ which chuck<br />
/Users/slork/slork/bin/chuck<br />
That's the right one!<br />
albacore:slork slork$ cd ~/slork<br />
albacore:slork slork$ sup<br />
~/slork ~/slork<br />
At revision 1891.<br />
~/slork<br />
<br />
Now let's double-check that we have the right version.<br />
albacore:slork slork$ chuck --about<br />
usage: chuck --[options|commands] [+-=^] file1 file2 file3 ...<br />
[options] = halt|loop|audio|silent|dump|nodump|server|about|probe|<br />
channels:<N>|out:<N>|in:<N>|dac:<N>|adc:<N>|<br />
srate:<N>|bufsize:<N>|bufnum:<N>|shell|empty|<br />
remote:<hostname>|port:<N>|verbose:<N>|level:<N>|<br />
callback|deprecate:{stop|warn|ignore}|<br />
chugin-load:{auto|off}|chugin-path:<path>|chugin:<name><br />
[commands] = add|remove|replace|remove.all|status|time|kill<br />
[+-=^] = shortcuts for add, remove, replace, status <br />
<br />
chuck version: 1.3.5.3-dev (chimera)<br />
mac os x : intel : 64-bit<br />
http://chuck.cs.princeton.edu/<br />
http://chuck.stanford.edu/<br />
Success!<br />
<br />
<br />
== Sound through MOTUs ==<br />
We have MOTU UltraLite mk3 and older MOTU UltraLite (version 1). Plug one into each laptop with a Firewire 400 to Firewire 800 cable. <br />
<br />
Output numbering is confusing because there are two “Main” outputs in addition to the 8 "analog out" aka "out" jacks. Software sees this:<br />
<br />
{| class="wikitable"<br />
! style="text-align:left;" | Software output channel<br />
! style="text-align:left;" | MOTU output jack<br />
|-<br />
|1-2<br />
|Main outs (left, right)<br />
|-<br />
|3-10<br />
|Outs "1" through "8" (all are actually off by 2)<br />
|-<br />
|11-12<br />
|S/PDIF digital outputs<br />
|-<br />
| 13-14<br />
| Headphones (though settings can change what exactly feeds the headphones)<br />
|}<br />
<br />
=== Master Volume ===<br />
The MOTUs have a master volume feature that can attenuate all outputs by a given number of dB between -80 and 0 (or also MUTE, which is minus infinity dBs).<br />
<br />
On the MOTU UltraLite mk3, the knob directly above the headphone jack (third knob from the left) toggles between controlling the “Phones” (headphones) or the “MASTER”. Press the button to switch which it controls.<br />
<br />
On the original UltraLite mk1, the upper left knob labeled “MAIN VOL” controls the master volume, which (sometimes? by default? depending on nondeterministic CueMix settings?) doesn’t affect the MAIN OUTs, only the OUT. In other words, for our purposes, it affects outputs 3-6 but not 1-2. That’s why we normally use only the mk3s but if you need to use a mk1 (e.g., because you need to daisy-chain FW400 to get >8 audio inputs) ask Ge to help configure this.<br />
<br />
== Sound through Hemis ==<br />
The “Hemis” are the hemispherical loudspeakers, pictured below.<br />
<br />
Power it with a black DC power adapter. Flip the power switch up for on. Some have slightly mechanically flaky power switches.<br />
<br />
Use a blue SLOrk snake to plug in six input signals. The two ends of the snake have different diameter metal plugs: the fat ones fit only the speaker side and are too fat to plug into the MOTU side. So, plug the skinny side into the MOTU and the fat side into the hemi.<br />
<br />
Channel 1 is the input closest to the switch, then going 2, 3, 4, 5, 6 to the left. These correspond to the loudspeakers as per the picture below.<br />
<br />
[[File:SpeakerSetup.jpg]]<br />
<br />
=== How do I set up ChucK to use 6 channels? ===<br />
<br />
ChucK, by default, ''might'' run in stereo mode. That means the <code>dac</code> has 2 output channels.<br />
<br />
To run with 6 channels using ChucK in commandline, you should invoke your program with the <code>-c</code> argument. For example,<br />
<code>chuck myInstrument.ck -c6</code><br />
for 6 channels.<br />
<br />
If you're using miniAudicle, you can explicitly tell miniAudicle use 6 channels by going to miniAudicle > Preferences (or use the keyboard shortcut '''⌘,'''), and selecting 6 output channels. (Note that you'll have to restart the virtual machine for this change to take effect.)<br />
<br />
=== How do I program my ChucK code to use those 6 channels? ===<br />
<br />
You have individual access to each output channel via <code>dac.chan(i)</code>, where <code>i</code> is the zero-indexed channel number (''i.e.'' 0, 1, 2, 3, 4, 5). How you want to address these individual channels is up to you. Maybe you want some elements to play through all speakers at the same time; then you would just chuck the element to each channel of the dac. Maybe you want to have have it go to only one specific channel; then you would just setup your patch to output to that channel (''e.g.'' <code>SinOsc foo => dac.chan(0);</code> to only output to the first channel). <br />
<br />
However, you could also do more interesting things! What if I have one ugen, and I want to send it to different individual channels? I could have an array of gains for each channel, and "turn on" and "turn off" individual channels via their gains (0 for off, nonzero for on). The toy example code below implements this.<br />
<br />
<nowiki><br />
// ChucK function demonstrating a single sine wave fed alternately through each speaker, via a gain array.<br />
<br />
6 => int N; // Number of channels we expect.<br />
<br />
// Sanity check -- do we actually see 6 channels?<br />
if( N > dac.channels() )<br />
{<br />
// error<br />
<<< "dac has less than the requested number of channels...", "" >>>;<br />
<<< " (try starting chuck/miniAudicle with more output channels?)", "" >>>;<br />
me.exit();<br />
}<br />
// print<br />
<<< "Using", N, "channels" >>>;<br />
<br />
SinOsc foo => blackhole; // Get the sinosc running<br />
Gain g[N]; // Instantiate an array of gains for each channel<br />
<br />
// connect to individual channels through individual gains<br />
for( int i; i < N; i++ )<br />
{<br />
0.0 => g[i].gain; // start gains at 0<br />
foo => g[i] => dac.chan(i); // this is the signal flow for each channel<br />
}<br />
<br />
<br />
while(true){<br />
for( int i; i < N; i++ )<br />
{<br />
// Set all gains to 0<br />
for( int j; j < N; j++ )<br />
{<br />
0.0 => g[j].gain;<br />
}<br />
// Short silence<br />
100::ms=>now;<br />
<br />
// Set one channel's gain to nonzero (i.e. turn on one channel)<br />
0.15 => g[i].gain;<br />
<br />
// run for half a second<br />
500::ms => now;<br />
}<br />
}<br />
</nowiki><br />
<br />
=== Have a single file that works in both 2 and 6 (or any) channels! ===<br />
<br />
You're probably hacking on your laptop (with 2 channels of output), but will ultimately perform on hemis (6 channels). It's annoying to have different files for those different scenarios.<br />
<br />
The solution: have your code work for N channels, and have it detect what value of N (''e.g.'' 2, 6) your <code>dac</code> sees. You could do that via the below snippet:<br />
<nowiki><br />
// ChucK code for automatic channel number detection<br />
dac.channels() => int N;<br />
<br />
// print<br />
<<< "Using", N, "channels" >>>;<br />
</nowiki><br />
<br />
[[Category: SLOrk]]</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016/FAQ&diff=18940SLOrk/2016/FAQ2016-04-06T19:36:49Z<p>Tsob: /* Sound through Hemis */ add dac.channels() section</p>
<hr />
<div>FAQ and useful info for your SLOrk experience is here.<br />
<br />
== What's with the caps lock? ==<br />
<br />
On SLOrk machines, the "caps lock" key is instead a(nother) control key.<br />
<br />
== SLOrk Code Repository ==<br />
<br />
We use SVN to save all SLOrk code, from the beginning of time. You'll put yours there too!<br />
<br />
Each SLOrk laptop has a copy of this repository at <code>/Users/slork/slork</code>. The master repository is hosted at [https://chuck-dev.stanford.edu/svn/slork/trunk https://chuck-dev.stanford.edu/svn/slork/trunk].<br />
<br />
To update everything in the SLOrk repository, simply open a terminal and type <code>sup</code>. This performs <code>cd ~/slork && svn update</code>, ''i.e.'' go to root of your SLOrk repository directory and update all. You can also update only certain directories by navigating to them in terminal, and then typing <code>svn update</code>.<br />
<br />
== ChucK: version and setup ==<br />
We use ChucK '''1.3.5.3-dev'''. This is conveniently available in our SVN repo (see above), and is installed on each laptop at <code>~/slork/bin/chuck</code><br />
<br />
To test and fix a wrong chuck version:<br />
<br />
albacore:slork slork$ which chuck<br />
/usr/bin/chuck<br />
albacore:slork slork$ ls -l /usr/bin/chuck <br />
-rwxr-xr-x 1 root wheel 5229644 Apr 22 2015 /usr/bin/chuck<br />
We don't want that one!<br />
albacore:slork slork$ sudo rm /usr/bin/chuck<br />
Password:<br />
albacore:slork slork$ which chuck<br />
/Users/slork/slork/bin/chuck<br />
That's the right one!<br />
albacore:slork slork$ cd ~/slork<br />
albacore:slork slork$ sup<br />
~/slork ~/slork<br />
At revision 1891.<br />
~/slork<br />
<br />
Now let's double-check that we have the right version.<br />
albacore:slork slork$ chuck --about<br />
usage: chuck --[options|commands] [+-=^] file1 file2 file3 ...<br />
[options] = halt|loop|audio|silent|dump|nodump|server|about|probe|<br />
channels:<N>|out:<N>|in:<N>|dac:<N>|adc:<N>|<br />
srate:<N>|bufsize:<N>|bufnum:<N>|shell|empty|<br />
remote:<hostname>|port:<N>|verbose:<N>|level:<N>|<br />
callback|deprecate:{stop|warn|ignore}|<br />
chugin-load:{auto|off}|chugin-path:<path>|chugin:<name><br />
[commands] = add|remove|replace|remove.all|status|time|kill<br />
[+-=^] = shortcuts for add, remove, replace, status <br />
<br />
chuck version: 1.3.5.3-dev (chimera)<br />
mac os x : intel : 64-bit<br />
http://chuck.cs.princeton.edu/<br />
http://chuck.stanford.edu/<br />
Success!<br />
<br />
<br />
== Sound through MOTUs ==<br />
We have MOTU UltraLite mk3 and older MOTU UltraLite (version 1). Plug one into each laptop with a Firewire 400 to Firewire 800 cable. <br />
<br />
Output numbering is confusing because there are two “Main” outputs in addition to the 8 "analog out" aka "out" jacks. Software sees this:<br />
<br />
{| class="wikitable"<br />
! style="text-align:left;" | Software output channel<br />
! style="text-align:left;" | MOTU output jack<br />
|-<br />
|1-2<br />
|Main outs (left, right)<br />
|-<br />
|3-10<br />
|Outs "1" through "8" (all are actually off by 2)<br />
|-<br />
|11-12<br />
|S/PDIF digital outputs<br />
|-<br />
| 13-14<br />
| Headphones (though settings can change what exactly feeds the headphones)<br />
|}<br />
<br />
=== Master Volume ===<br />
The MOTUs have a master volume feature that can attenuate all outputs by a given number of dB between -80 and 0 (or also MUTE, which is minus infinity dBs).<br />
<br />
On the MOTU UltraLite mk3, the knob directly above the headphone jack (third knob from the left) toggles between controlling the “Phones” (headphones) or the “MASTER”. Press the button to switch which it controls.<br />
<br />
On the original UltraLite mk1, the upper left knob labeled “MAIN VOL” controls the master volume, which (sometimes? by default? depending on nondeterministic CueMix settings?) doesn’t affect the MAIN OUTs, only the OUT. In other words, for our purposes, it affects outputs 3-6 but not 1-2. That’s why we normally use only the mk3s but if you need to use a mk1 (e.g., because you need to daisy-chain FW400 to get >8 audio inputs) ask Ge to help configure this.<br />
<br />
== Sound through Hemis ==<br />
The “Hemis” are the hemispherical loudspeakers, pictured below.<br />
<br />
Power it with a black DC power adapter. Flip the power switch up for on. Some have slightly mechanically flaky power switches.<br />
<br />
Use a blue SLOrk snake to plug in six input signals. The two ends of the snake have different diameter metal plugs: the fat ones fit only the speaker side and are too fat to plug into the MOTU side. So, plug the skinny side into the MOTU and the fat side into the hemi.<br />
<br />
Channel 1 is the input closest to the switch, then going 2, 3, 4, 5, 6 to the left. These correspond to the loudspeakers as per the picture below.<br />
<br />
[[File:SpeakerSetup.jpg]]<br />
<br />
=== How do I set up ChucK to use 6 channels? ===<br />
<br />
ChucK, by default, will run in stereo mode. That means the <code>dac</code> has 2 output channels.<br />
<br />
To run with 6 channels using ChucK in commandline, you should invoke your program with the <code>-c</code> argument. For example,<br />
<code>chuck myInstrument.ck -c6</code><br />
for 6 channels.<br />
<br />
If you're using miniAudicle, you can explicitly tell miniAudicle use 6 channels by going to miniAudicle > Preferences (or use the keyboard shortcut '''⌘,'''), and selecting 6 output channels. (Note that you'll have to restart the virtual machine for this change to take effect.)<br />
<br />
=== How do I program my ChucK code to use those 6 channels? ===<br />
<br />
You have individual access to each output channel via <code>dac.chan(i)</code>, where <code>i</code> is the zero-indexed channel number (''i.e.'' 0, 1, 2, 3, 4, 5). How you want to address these individual channels is up to you. Maybe you want some elements to play through all speakers at the same time; then you would just chuck the element to each channel of the dac. Maybe you want to have have it go to only one specific channel; then you would just setup your patch to output to that channel (''e.g.'' <code>SinOsc foo => dac.chan(0);</code> to only output to the first channel). <br />
<br />
However, you could also do more interesting things! What if I have one ugen, and I want to send it to different individual channels? I could have an array of gains for each channel, and "turn on" and "turn off" individual channels via their gains (0 for off, nonzero for on). The toy example code below implements this.<br />
<br />
<nowiki><br />
// ChucK function demonstrating a single sine wave fed alternately through each speaker, via a gain array.<br />
<br />
6 => int N; // Number of channels we expect.<br />
<br />
// Sanity check -- do we actually see 6 channels?<br />
if( N > dac.channels() )<br />
{<br />
// error<br />
<<< "dac has less than the requested number of channels...", "" >>>;<br />
<<< " (try starting chuck/miniAudicle with more output channels?)", "" >>>;<br />
me.exit();<br />
}<br />
// print<br />
<<< "Using", N, "channels" >>>;<br />
<br />
SinOsc foo => blackhole; // Get the sinosc running<br />
Gain g[N]; // Instantiate an array of gains for each channel<br />
<br />
// connect to individual channels through individual gains<br />
for( int i; i < N; i++ )<br />
{<br />
0.0 => g[i].gain; // start gains at 0<br />
foo => g[i] => dac.chan(i); // this is the signal flow for each channel<br />
}<br />
<br />
<br />
while(true){<br />
for( int i; i < N; i++ )<br />
{<br />
// Set all gains to 0<br />
for( int j; j < N; j++ )<br />
{<br />
0.0 => g[j].gain;<br />
}<br />
// Short silence<br />
100::ms=>now;<br />
<br />
// Set one channel's gain to nonzero (i.e. turn on one channel)<br />
0.15 => g[i].gain;<br />
<br />
// run for half a second<br />
500::ms => now;<br />
}<br />
}<br />
</nowiki><br />
<br />
=== Have a single file that works in both 2 and 6 (or any) channels! ===<br />
<br />
You're probably hacking on your laptop (with 2 channels of output), but will ultimately perform on hemis (6 channels). It's annoying to have different files for those different scenarios.<br />
<br />
The solution: have your code work for N channels, and have it detect what value of N (''e.g.'' 2, 6) your <code>dac</code> sees. You could do that via the below snippet:<br />
<nowiki><br />
// ChucK code for automatic channel number detection<br />
dac.channels() => int N;<br />
<br />
// print<br />
<<< "Using", N, "channels" >>>;<br />
</nowiki><br />
<br />
[[Category: SLOrk]]</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016/FAQ&diff=18939SLOrk/2016/FAQ2016-04-06T19:27:17Z<p>Tsob: /* Sound through Hemis */ add multichannel stuff</p>
<hr />
<div>FAQ and useful info for your SLOrk experience is here.<br />
<br />
== What's with the caps lock? ==<br />
<br />
On SLOrk machines, the "caps lock" key is instead a(nother) control key.<br />
<br />
== SLOrk Code Repository ==<br />
<br />
We use SVN to save all SLOrk code, from the beginning of time. You'll put yours there too!<br />
<br />
Each SLOrk laptop has a copy of this repository at <code>/Users/slork/slork</code>. The master repository is hosted at [https://chuck-dev.stanford.edu/svn/slork/trunk https://chuck-dev.stanford.edu/svn/slork/trunk].<br />
<br />
To update everything in the SLOrk repository, simply open a terminal and type <code>sup</code>. This performs <code>cd ~/slork && svn update</code>, ''i.e.'' go to root of your SLOrk repository directory and update all. You can also update only certain directories by navigating to them in terminal, and then typing <code>svn update</code>.<br />
<br />
== ChucK: version and setup ==<br />
We use ChucK '''1.3.5.3-dev'''. This is conveniently available in our SVN repo (see above), and is installed on each laptop at <code>~/slork/bin/chuck</code><br />
<br />
To test and fix a wrong chuck version:<br />
<br />
albacore:slork slork$ which chuck<br />
/usr/bin/chuck<br />
albacore:slork slork$ ls -l /usr/bin/chuck <br />
-rwxr-xr-x 1 root wheel 5229644 Apr 22 2015 /usr/bin/chuck<br />
We don't want that one!<br />
albacore:slork slork$ sudo rm /usr/bin/chuck<br />
Password:<br />
albacore:slork slork$ which chuck<br />
/Users/slork/slork/bin/chuck<br />
That's the right one!<br />
albacore:slork slork$ cd ~/slork<br />
albacore:slork slork$ sup<br />
~/slork ~/slork<br />
At revision 1891.<br />
~/slork<br />
<br />
Now let's double-check that we have the right version.<br />
albacore:slork slork$ chuck --about<br />
usage: chuck --[options|commands] [+-=^] file1 file2 file3 ...<br />
[options] = halt|loop|audio|silent|dump|nodump|server|about|probe|<br />
channels:<N>|out:<N>|in:<N>|dac:<N>|adc:<N>|<br />
srate:<N>|bufsize:<N>|bufnum:<N>|shell|empty|<br />
remote:<hostname>|port:<N>|verbose:<N>|level:<N>|<br />
callback|deprecate:{stop|warn|ignore}|<br />
chugin-load:{auto|off}|chugin-path:<path>|chugin:<name><br />
[commands] = add|remove|replace|remove.all|status|time|kill<br />
[+-=^] = shortcuts for add, remove, replace, status <br />
<br />
chuck version: 1.3.5.3-dev (chimera)<br />
mac os x : intel : 64-bit<br />
http://chuck.cs.princeton.edu/<br />
http://chuck.stanford.edu/<br />
Success!<br />
<br />
<br />
== Sound through MOTUs ==<br />
We have MOTU UltraLite mk3 and older MOTU UltraLite (version 1). Plug one into each laptop with a Firewire 400 to Firewire 800 cable. <br />
<br />
Output numbering is confusing because there are two “Main” outputs in addition to the 8 "analog out" aka "out" jacks. Software sees this:<br />
<br />
{| class="wikitable"<br />
! style="text-align:left;" | Software output channel<br />
! style="text-align:left;" | MOTU output jack<br />
|-<br />
|1-2<br />
|Main outs (left, right)<br />
|-<br />
|3-10<br />
|Outs "1" through "8" (all are actually off by 2)<br />
|-<br />
|11-12<br />
|S/PDIF digital outputs<br />
|-<br />
| 13-14<br />
| Headphones (though settings can change what exactly feeds the headphones)<br />
|}<br />
<br />
=== Master Volume ===<br />
The MOTUs have a master volume feature that can attenuate all outputs by a given number of dB between -80 and 0 (or also MUTE, which is minus infinity dBs).<br />
<br />
On the MOTU UltraLite mk3, the knob directly above the headphone jack (third knob from the left) toggles between controlling the “Phones” (headphones) or the “MASTER”. Press the button to switch which it controls.<br />
<br />
On the original UltraLite mk1, the upper left knob labeled “MAIN VOL” controls the master volume, which (sometimes? by default? depending on nondeterministic CueMix settings?) doesn’t affect the MAIN OUTs, only the OUT. In other words, for our purposes, it affects outputs 3-6 but not 1-2. That’s why we normally use only the mk3s but if you need to use a mk1 (e.g., because you need to daisy-chain FW400 to get >8 audio inputs) ask Ge to help configure this.<br />
<br />
== Sound through Hemis ==<br />
The “Hemis” are the hemispherical loudspeakers, pictured below.<br />
<br />
Power it with a black DC power adapter. Flip the power switch up for on. Some have slightly mechanically flaky power switches.<br />
<br />
Use a blue SLOrk snake to plug in six input signals. The two ends of the snake have different diameter metal plugs: the fat ones fit only the speaker side and are too fat to plug into the MOTU side. So, plug the skinny side into the MOTU and the fat side into the hemi.<br />
<br />
Channel 1 is the input closest to the switch, then going 2, 3, 4, 5, 6 to the left. These correspond to the loudspeakers as per the picture below.<br />
<br />
=== How do I set up ChucK to use 6 channels? ===<br />
<br />
ChucK, by default, will run in stereo mode. That means the <code>dac</code> has 2 output channels.<br />
<br />
To run with 6 channels using ChucK in commandline, you should invoke your program with the <code>-c</code> argument. For example,<br />
<code>chuck myInstrument.ck -c6</code><br />
for 6 channels.<br />
<br />
If you're using miniAudicle, you can explicitly tell miniAudicle use 6 channels by going to miniAudicle > Preferences (or use the keyboard shortcut '''⌘,'''), and selecting 6 output channels. (Note that you'll have to restart the virtual machine for this change to take effect.)<br />
<br />
=== How do I program my ChucK code to use those 6 channels? ===<br />
<br />
You have individual access to each output channel via <code>dac.chan(i)</code>, where <code>i</code> is the zero-indexed channel number (''i.e.'' 0, 1, 2, 3, 4, 5). How you want to address these individual channels is up to you. Maybe you want some elements to play through all speakers at the same time; then you would just chuck the element to each channel of the dac. Maybe you want to have have it go to only one specific channel; then you would just setup your patch to output to that channel (''e.g.'' <code>SinOsc foo => dac.chan(0);</code> to only output to the first channel). <br />
<br />
However, you could also do more interesting things! What if I have one ugen, and I want to send it to different individual channels? I could have an array of gains for each channel, and "turn on" and "turn off" individual channels via their gains (0 for off, nonzero for on). The toy example code below implements this.<br />
<br />
<nowiki><br />
// ChucK function demonstrating a single sine wave fed alternately through each speaker, via a gain array.<br />
<br />
6 => int N; // Number of channels we expect.<br />
<br />
// Sanity check -- do we actually see 6 channels?<br />
if( N > dac.channels() )<br />
{<br />
// error<br />
<<< "dac has less than the requested number of channels...", "" >>>;<br />
<<< " (try starting chuck/miniAudicle with more output channels?)", "" >>>;<br />
me.exit();<br />
}<br />
// print<br />
<<< "Using", N, "channels" >>>;<br />
<br />
SinOsc foo => blackhole; // Get the sinosc running<br />
Gain g[N]; // Instantiate an array of gains for each channel<br />
<br />
// connect to individual channels through individual gains<br />
for( int i; i < N; i++ )<br />
{<br />
0.0 => g[i].gain; // start gains at 0<br />
foo => g[i] => dac.chan(i); // this is the signal flow for each channel<br />
}<br />
<br />
<br />
while(true){<br />
for( int i; i < N; i++ )<br />
{<br />
// Set all gains to 0<br />
for( int j; j < N; j++ )<br />
{<br />
0.0 => g[j].gain;<br />
}<br />
// Short silence<br />
100::ms=>now;<br />
<br />
// Set one channel's gain to nonzero (i.e. turn on one channel)<br />
0.15 => g[i].gain;<br />
<br />
// run for half a second<br />
500::ms => now;<br />
}<br />
}<br />
</nowiki><br />
<br />
[[File:SpeakerSetup.jpg]]<br />
[[Category: SLOrk]]</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016/setup_signup&diff=18925SLOrk/2016/setup signup2016-04-06T04:37:43Z<p>Tsob: adding Ludwig for weeks 2-4, per Piazza exchange</p>
<hr />
<div>Use this page to sign up for early setup. As mentioned in the [[SLOrk/2016#Grading|syllabus]], you must come 30 mins early to class (''i.e.'' 7 pm), for at least three (3) class periods in the quarter, to help setup the SLOrk stations.<br />
<br />
== Week 2 (April 6th) ==<br />
* Ludwig<br />
* <br />
* <br />
<br />
== Week 3 (April 13th) ==<br />
* Ludwig<br />
* <br />
* <br />
<br />
== Week 4 (April 20th) ==<br />
* Ludwig<br />
* <br />
* <br />
<br />
== Week 5 (April 27th) ==<br />
* <br />
* <br />
* <br />
<br />
== Week 6 (May 4th) ==<br />
* <br />
* <br />
* <br />
<br />
== Week 7 (May 11th) ==<br />
* <br />
* <br />
* <br />
<br />
== Week 8 (May 18th) ==<br />
* <br />
* <br />
* <br />
<br />
== Week 9 (May 25th) ==<br />
* <br />
* <br />
*</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016/FAQ&diff=18909SLOrk/2016/FAQ2016-03-31T23:30:58Z<p>Tsob: add to SLOrk category</p>
<hr />
<div>FAQ and useful info for your SLOrk experience is here.<br />
<br />
== What's with the caps lock? ==<br />
<br />
On SLOrk machines, the "caps lock" key is instead a(nother) control key.<br />
<br />
== SLOrk Code Repository ==<br />
<br />
We use SVN to save all SLOrk code, from the beginning of time. You'll put yours there too!<br />
<br />
Each SLOrk laptop has a copy of this repository at <code>/Users/slork/slork</code>. The master repository is hosted at [https://chuck-dev.stanford.edu/svn/slork/trunk https://chuck-dev.stanford.edu/svn/slork/trunk].<br />
<br />
To update everything in the SLOrk repository, simply open a terminal and type <code>sup</code>. This performs <code>cd ~/slork && svn update</code>, ''i.e.'' go to root of your SLOrk repository directory and update all. You can also update only certain directories by navigating to them in terminal, and then typing <code>svn update</code>.<br />
<br />
== ChucK: version and setup ==<br />
We use ChucK '''1.3.5.3-dev'''. This is conveniently available in our SVN repo (see above), and is installed on each laptop at <code>~/slork/bin/chuck</code><br />
<br />
To test and fix a wrong chuck version:<br />
<br />
albacore:slork slork$ which chuck<br />
/usr/bin/chuck<br />
albacore:slork slork$ ls -l /usr/bin/chuck <br />
-rwxr-xr-x 1 root wheel 5229644 Apr 22 2015 /usr/bin/chuck<br />
We don't want that one!<br />
albacore:slork slork$ sudo rm /usr/bin/chuck<br />
Password:<br />
albacore:slork slork$ which chuck<br />
/Users/slork/slork/bin/chuck<br />
That's the right one!<br />
albacore:slork slork$ cd ~/slork<br />
albacore:slork slork$ sup<br />
~/slork ~/slork<br />
At revision 1891.<br />
~/slork<br />
<br />
Now let's double-check that we have the right version.<br />
albacore:slork slork$ chuck --about<br />
usage: chuck --[options|commands] [+-=^] file1 file2 file3 ...<br />
[options] = halt|loop|audio|silent|dump|nodump|server|about|probe|<br />
channels:<N>|out:<N>|in:<N>|dac:<N>|adc:<N>|<br />
srate:<N>|bufsize:<N>|bufnum:<N>|shell|empty|<br />
remote:<hostname>|port:<N>|verbose:<N>|level:<N>|<br />
callback|deprecate:{stop|warn|ignore}|<br />
chugin-load:{auto|off}|chugin-path:<path>|chugin:<name><br />
[commands] = add|remove|replace|remove.all|status|time|kill<br />
[+-=^] = shortcuts for add, remove, replace, status <br />
<br />
chuck version: 1.3.5.3-dev (chimera)<br />
mac os x : intel : 64-bit<br />
http://chuck.cs.princeton.edu/<br />
http://chuck.stanford.edu/<br />
Success!<br />
<br />
<br />
== Sound through MOTUs ==<br />
We have MOTU UltraLite mk3 and older MOTU UltraLite (version 1). Plug one into each laptop with a Firewire 400 to Firewire 800 cable. <br />
<br />
Output numbering is confusing because there are two “Main” outputs in addition to the 8 "analog out" aka "out" jacks. Software sees this:<br />
<br />
{| class="wikitable"<br />
! style="text-align:left;" | Software output channel<br />
! style="text-align:left;" | MOTU output jack<br />
|-<br />
|1-2<br />
|Main outs (left, right)<br />
|-<br />
|3-10<br />
|Outs "1" through "8" (all are actually off by 2)<br />
|-<br />
|11-12<br />
|S/PDIF digital outputs<br />
|-<br />
| 13-14<br />
| Headphones (though settings can change what exactly feeds the headphones)<br />
|}<br />
<br />
=== Master Volume ===<br />
The MOTUs have a master volume feature that can attenuate all outputs by a given number of dB between -80 and 0 (or also MUTE, which is minus infinity dBs).<br />
<br />
On the MOTU UltraLite mk3, the knob directly above the headphone jack (third knob from the left) toggles between controlling the “Phones” (headphones) or the “MASTER”. Press the button to switch which it controls.<br />
<br />
On the original UltraLite mk1, the upper left knob labeled “MAIN VOL” controls the master volume, which (sometimes? by default? depending on nondeterministic CueMix settings?) doesn’t affect the MAIN OUTs, only the OUT. In other words, for our purposes, it affects outputs 3-6 but not 1-2. That’s why we normally use only the mk3s but if you need to use a mk1 (e.g., because you need to daisy-chain FW400 to get >8 audio inputs) ask Ge to help configure this.<br />
<br />
== Sound through Hemis ==<br />
The “Hemis” are the hemispherical loudspeakers, pictured below.<br />
<br />
Power it with a black DC power adapter. Flip the power switch up for on. Some have slightly mechanically flaky power switches.<br />
<br />
Use a blue SLOrk snake to plug in six input signals. The two ends of the snake have different diameter metal plugs: the fat ones fit only the speaker side and are too fat to plug into the MOTU side. So, plug the skinny side into the MOTU and the fat side into the hemi.<br />
<br />
Channel 1 is the input closest to the switch, then going 2, 3, 4, 5, 6 to the left. These correspond to the loudspeakers as per the picture below.<br />
<br />
[[File:SpeakerSetup.jpg]]<br />
[[Category: SLOrk]]</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016&diff=18908SLOrk/20162016-03-31T23:30:21Z<p>Tsob: add to SLOrk category</p>
<hr />
<div>[[Image:SLOrk-Dink.jpg]]<br />
<br />
Welcome to this year's '''Music 128 / CS 170: Stanford Laptop Orchestra'''! This wiki is your portal to useful SLOrk-related info. See also the [[SLOrk/2016/FAQ|SLOrk FAQ]] and the [[SLOrk/2016/station_setup|station setup guide]]. Feel free to use our [http://piazza.com/stanford/spring2016/music128cs170 Piazza forum] for rapid communication with the class.<br />
<br />
== Regular Class Meetings ==<br />
Times: Wednesdays, 7:30 pm - 10:20 pm<br />
<br />
Room: CCRMA Stage (Knoll 315)<br />
<br />
== Directors ==<br />
* [https://ccrma.stanford.edu/~ge/ Ge Wang]<br />
* [https://ccrma.stanford.edu/~matt/ Matt Wright], co-director and guest instructor <br />
* [https://ccrma.stanford.edu/~tsob Tim O’Brien], co-director and TA<br />
<br />
== Course Description ==<br />
This course explores composing and coding for, and performance with, laptop orchestra. Topics and activities include issues of instrument design, sound synthesis, programming, composing for laptop orchestra, and live performance. Coursework includes designing laptop-mediated software musical instruments, crafting musical works, and live performance.<br />
<br />
To engage with these ideas most fully, students will write compositions and perform them live in two concerts during the spring quarter.<br />
<br />
== Musical Works ==<br />
Student output in this class will consist of at least 2 musical works (approximately one by the end of the 4th week, and the second by the end of the 8th week) – including instrument design, sound design, programming, and crafting musical presentation – to be first performed in a dress rehearsal in class and then at a public performance. The first musical work will be a piece of ‘chamber music’ (for a small number of players – between 2-4), and the second musical work will be a piece for the full ensemble.<br />
<br />
Pieces typically average 4-7 minutes. Group work is encouraged – multiple students may work on the same composition.<br />
<br />
== Grading ==<br />
The importance of timely attendance and active participation in this class cannot be overstated. As a performance ensemble, we are relying on each other to be present to perform and critique each other’s work. Therefore, by joining this class, you are committing to attending every class period, as well as the following rehearsals/concerts:<br />
<br />
* May 1st – noon-6pm – group rehearsal by piece (by appt)<br />
* May 1st – 6:00pm on – [https://ccrma.stanford.edu/groups/slork/events/2016/slorktastic/ SLOrktastic Chamber Music] (concert at 7:30pm)<br />
* June 1st – 4pm-10pm – dress rehearsal #1 in Bing Concert Hall<br />
* June 2nd – 12pm on – dress rehearsal #2 in Bing Concert Hall ([https://ccrma.stanford.edu/groups/slork/events/2016/spring/ final concert at 8:00pm])<br />
<br />
If you miss a concert or dress rehearsal for any reason other than an excusable emergency, it will result in the lowering of your grade by 2 letter grades. Missing a regular class period will lower it one letter grade; being late for a regular class period will lower it by 1/3 letter grade (e.g. A goes to A-).<br />
<br />
With your attendance grade as the baseline, grades will be modulated by participation. Each class you will receive a ✓ if you come prepared to participate, are attentive in class, and demonstrate progress on your work. If you come and do not participate, are inattentive, or are unprepared, you’ll receive a ✓-. Two ✓-’s will result in the lowering of a full letter grade. ✓+’s may be given out on occasion, and may result in the raising of your final grade.<br />
<br />
You must come to class 30 minutes early (i.e. at 7pm) for at least three (3) class sessions to help set up the equipment. This counts toward your participation grade. You can sign up at this page: [[SLOrk/2016/setup_signup]].<br />
<br />
== Readings ==<br />
The unofficial textbook of the course is Programming for Musicians and Digital Artists: Creating music with ChucK (ISBN: 1617291706). It provides many good examples of features in ChucK, and will be useful for quickly gaining fluency in the language.<br />
<br />
For ChucK beginners, we also recommend Introduction to Programming for Musicians and Digital Artists, an online course from kadenze.com. You can access course videos freely by signing up for a free account at kadenze.com, and then navigating to https://www.kadenze.com/courses/introduction-to-programming-for-musicians-and-digital-artists-iii <br />
<br />
Additionally, you will be engaged in topics such as the embodiment of sound in technology-mediated performance, meaningful instrument interaction between players, and indeed, the point of a laptop orchestra. As such, we’ve amalgamated a short reading list. The readings will be made available on Coursework the week they are assigned. Although we may not necessarily be discussing them directly in class, ideas will be drawn from them to frame activities and discussions in class. They will be good perspective for the course, and indeed, for your musical life.<br />
<br />
=== Laptop Orchestra ===<br />
* [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, D., (2007). “Why a laptop orchestra?” ''Organised Sound''. 12(2), 171-179.]<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood, S., Trueman, S., Cook, P.R., Wang, G., (2008). "Composing for laptop orchestra." ''Computer Music Journal''. 32(1), 9-25.]<br />
* [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink, R., Wang, G., Cook, P.R.. “Don't Forget the Laptop: Using Native Input Capabilities for Expressive Musical Control”. In ''Proceedings of New Interfaces for Musical Expression'', 2007.]<br />
<br />
=== Gesture in Performance ===<br />
* [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, A. (1999). “Bodily Hearing: Physiological Metaphors and Musical Understanding. ''Journal of Music Theory''. 43(1), 1-19.]<br />
* Godøy, R. I. "Gestural Affordances of Musical Sound," in Musical Gestures: Sound, Movement, and Meaning, ed. Rolf Inge Godøy and Marc Leman (Routledge, 2010). pp 103-125.<br />
<br />
=== Other ===<br />
* Cook, N. Inaugural Lecture at the University of Cambridge.<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320582945 Wessel, David, and Matthew Wright. "Problems and prospects for intimate musical control of computers." Computer Music Journal 26.3 (2002): 11-22.]<br />
* [http://www.nime.org/proceedings/2015/nime2015_329.pdf Wan Rosli et al. “Ensemble Feedback Networks,” in Proceedings of the International Conference on New Interfaces for Musical Expression, Baton Rouge, Louisiana, USA, 2015, pp. 144-149.]<br />
<br />
== Dress Code ==<br />
For concerts, the dress code will be concert black, colored socks optional.<br />
<br />
== Accommodations ==<br />
If you need accommodations for any physical, psychological, or learning disability, or if you want to inform me about a medical situation, please speak to me (Ge) outside of class.<br />
<br />
== Weekly Schedule (subject to change) ==<br />
<br />
=== Week 1: Introduction (March 30th) ===<br />
Syllabus discussion, introduction to the ideas of laptop orchestra, [[SLOrk/2016/station_setup|how to set up laptop orchestra gear]]. Learn pieces from the laptop orchestra repertoire, first ChucK instrument example.<br />
* Homework: Create a short solo musical work/statement for one station.<br />
* Reading: [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, 2007]; [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink ''et al.'', 2007].<br />
<br />
=== Week 2: (April 6th) ===<br />
Initial instrument design presentation and critique; each person to give a mini-performance of 1-2 minutes; presentation on physical interaction design.<br />
* Homework: Milestone 1.<br />
* Reading: [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, 1999].<br />
<br />
=== Week 3: (April 13th) ===<br />
SLOrktastic milestone #1: initial work in-progress of piece; 3 minute performance.<br />
* Homework: Milestone 2.<br />
* Reading: TBA<br />
<br />
=== Week 4: (April 20th) ===<br />
SLOrktastic milestone #2: complete composition/performance.<br />
* Homework: Polish your piece – the concert is next week!<br />
<br />
=== Week 5: (April 27th, May 1st) ===<br />
<br />
April 27th: Dress rehearsal of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
May 1st: Tech run-through during the day (by appt). 6:00pm call (dinner provided) for 7:30pm [https://ccrma.stanford.edu/groups/slork/events/2016/slorktastic/ SLOrktastic Chamber Music Concert]. Invite your friends!<br />
* Homework: Proposal / sketch for final musical work.<br />
* Reading: [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood et al., 2008].<br />
<br />
=== Week 6: (May 4th) ===<br />
Proposal & sketch for final composition/performance; strategies and tools; networking.<br />
* Homework: Final Milestone #1<br />
* Reading: Cook, N.<br />
<br />
=== Week 7: (May 11th) ===<br />
Final Milestone #1: initial full ensemble rehearsal for each piece in-progress<br />
* Homework: Final Milestone #2<br />
<br />
=== Week 8: (May 18th) ===<br />
Final Milestone #2: full ensemble rehearsal for complete piece in-progress, with score presentation as you see fit.<br />
* Homework: Polish your work!<br />
<br />
=== Week 9: (May 25th) ===<br />
<br />
Normal class period, last workshopping and rehearsal of pieces for the [https://ccrma.stanford.edu/groups/slork/events/2016/spring/ Bing concert]. The pieces should be finished by this date; this rehearsal will be focused on ensemble coordination and performance.<br />
<br />
=== Week 10: (June 1st, June 2nd) ===<br />
<br />
June 1st:<br />
* 4pm-10pm Dress rehearsal #1 of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
June 2nd:<br />
* 12pm: Dress rehearsal #2 of pieces for the performance (schedule and order to be emailed by day previous)<br />
* 7:30pm: [https://ccrma.stanford.edu/groups/slork/events/2016/spring/ SLOrk @ Bing 2015 (Spring Concert)]<br />
<br />
[[Category: SLOrk]]</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=Colloquium15-16&diff=18907Colloquium15-162016-03-31T23:28:31Z<p>Tsob: /* Spring Quarter */</p>
<hr />
<div>@5:30pm in the Classroom!<br />
<br />
= Fall Quarter =<br />
<br />
* '''09/30:'''<br />
** Speaker 1: Chris Chafe - Gnosisong<br />
** Speaker 2: Ge Wang<br />
<br />
* '''10/7:''' (Madeline)<br />
** Speaker 1: Matt Wright<br />
** Speaker 2: Jonathan Berger - My Lai<br />
<br />
* '''10/14:''' <br />
** Speaker 1: Tom Rossing<br />
** Speaker 2: Jarek Kapuscinski<br />
<br />
* '''10/19:''' <br />
** Cesare Beltrami<br />
<br />
* '''10/21:''' (Tim)<br />
** Speaker 1: Jonathan Abel <br />
** Speaker 2: Matt Wright<br />
<br />
* '''10/28:''' Rapid Fire "What I'm Working On" Talks (5'; no set number of speakers, please sign up!)<br />
** Shu Yu Lin- Macrocosm<br />
** Elliot Kermit-Canfield & Irán Román - Classification of Irish and Scandinavian Folk Music by Dance Type<br />
** Christoph Hohnerlein - Optimal beam-forming for transaural audio<br />
** Maximilian Rest - Real-time Wave-Digital-Filter framework<br />
** Jens Ahrens - The fabulous SoundScape Renderer and some of its accessories<br />
** Sara R. Martín - Hybrid method for physical modeling: FDTD and ESIE<br />
** Emily Graber - New directions for EEG decoding<br />
** Madeline Huberth - Computer-vision for motion tracking of performers: an analysis system in progress<br />
**<br />
<br />
* '''11/4:''' (Madeline/Tim)<br />
** Speaker 1: Fernando Lopez-Lezcano<br />
** Speaker 2: Jay LeBoeuf<br />
<br />
* '''11/11:''' (Madeline)<br />
** Speaker 1: Julius Smith<br />
** Speaker 2: Takako Fujioka<br />
<br />
* '''11/18:''' (Elliot)<br />
** Speaker 1: Sasha Leitman<br />
** Speaker 2: Eleanor Selfridge-Field, Craig Sapp<br />
<br />
* '''12/2:'''<br />
** Johannes Goebel<br />
<br />
= Winter Quarter =<br />
<br />
<br />
* '''01/13:''' (Tim)<br />
** Speaker 1: Romain on the audio engine of the car simulator at VAIL<br />
** Speaker 2: Maximilian Rest<br />
** Speaker 3: Christoph Hohnerlein<br />
<br />
* '''01/20:''' (Madeline) <br />
** Jennifer Iverson <br />
<br />
* '''01/27:''' (Romain)<br />
** Peter Svensson<br />
<br />
* '''02/03:''' (Madeline)<br />
** Mark Thomas - Acoustic Channel Equalization for Speech Dereverberation<br />
<br />
* '''02/10:''' (Elliot)<br />
Rapid Fire "What I'm Working On" Talks (5'; no set number of speakers, please sign up!)<br />
** Romain - "Augmenting mobile devices"<br />
** Nando - "Adventures in 3D printing microphone assemblies, the short version"<br />
** Mike - "A novel implementation of FOF using 2nd order filters"<br />
** Jia - "Music Analysis through Visualization"<br />
** Kurt - "Demo of Time-Varying Wave Digital Filters (for Elliot)" and "A Wave Digital Memristor (for Irán)"<br />
** Paul - "Sporth, and the Aesthetics of Code"<br />
** Chris - "Wide Area Network Rooms from Internet Reverb"<br />
** Blair - MIR symposium<br />
** Ge - "Exploring graphics programming in ChucK"<br />
** Matt - "CCRMA Open House 2016"<br />
<br />
* '''02/17:''' (Romain)<br />
** Doug James <br />
<br />
* '''02/24:''' (Tim)<br />
** Speaker 1: Blair Kaneshiro - Assessing temporal reliability of ongoing EEG responses to naturalistic music<br />
** Speaker 2: Elliot Kermit-Canfield - Allpass Filter Decorrelation <br />
** Speaker 3: Eoin Callery - Music for rooms and instruments<br />
<br />
* '''03/02:''' <br />
** Roger Linn<br />
<br />
* '''03/09:''' (Madeline) <br />
** Mike Schutz<br />
<br />
= Spring Quarter =<br />
<br />
* '''03/30:''' (Romain?)<br />
** Speaker 1: Alex on "The Ear Tone Toolbox for Auditory Distortion Product Synthesis"<br />
** Speaker 2: Romain<br />
** Speaker 3: Romain<br />
<br />
* '''04/06:''' (Elliot)<br />
** Seth Cluett<br />
<br />
* '''04/13:''' <br />
** Chris Dobrian<br />
<br />
* '''04/20:''' (Tim)<br />
** Speaker 1: Nando (topic still to be determined)<br />
** Speaker 2: Ge (TBD)<br />
** Speaker 3: <br />
<br />
* '''04/27:''' (Romain)<br />
** Juraj Kojs<br />
<br />
* '''05/04:''' (Madeline)<br />
** Danielle Sofer<br />
<br />
* '''05/11:''' (Madeline)<br />
** Sile O'Modhrain<br />
<br />
* '''05/18:''' (Elliot)<br />
** Eric Lyon, "HDLA's (High Density Loudspeaker Arrays)", exact title to be determined<br />
<br />
* '''05/25:''' Rapid Fire "What I'm Working On" Talks (5'; no set number of speakers, please sign up!) (Tim)<br />
** CC Tsar Bell model and concert<br />
**<br />
**<br />
**<br />
**<br />
**<br />
** Ge (topic TBD)<br />
**<br />
**<br />
<br />
* '''06/1:''' (Madeline)<br />
** Ivan Liu</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016&diff=18906SLOrk/20162016-03-31T23:22:20Z<p>Tsob: /* Week 10: (June 1st, June 2nd) */ add concert link</p>
<hr />
<div>[[Image:SLOrk-Dink.jpg]]<br />
<br />
Welcome to this year's '''Music 128 / CS 170: Stanford Laptop Orchestra'''! This wiki is your portal to useful SLOrk-related info. See also the [[SLOrk/2016/FAQ|SLOrk FAQ]] and the [[SLOrk/2016/station_setup|station setup guide]]. Feel free to use our [http://piazza.com/stanford/spring2016/music128cs170 Piazza forum] for rapid communication with the class.<br />
<br />
== Regular Class Meetings ==<br />
Times: Wednesdays, 7:30 pm - 10:20 pm<br />
<br />
Room: CCRMA Stage (Knoll 315)<br />
<br />
== Directors ==<br />
* [https://ccrma.stanford.edu/~ge/ Ge Wang]<br />
* [https://ccrma.stanford.edu/~matt/ Matt Wright], co-director and guest instructor <br />
* [https://ccrma.stanford.edu/~tsob Tim O’Brien], co-director and TA<br />
<br />
== Course Description ==<br />
This course explores composing and coding for, and performance with, laptop orchestra. Topics and activities include issues of instrument design, sound synthesis, programming, composing for laptop orchestra, and live performance. Coursework includes designing laptop-mediated software musical instruments, crafting musical works, and live performance.<br />
<br />
To engage with these ideas most fully, students will write compositions and perform them live in two concerts during the spring quarter.<br />
<br />
== Musical Works ==<br />
Student output in this class will consist of at least 2 musical works (approximately one by the end of the 4th week, and the second by the end of the 8th week) – including instrument design, sound design, programming, and crafting musical presentation – to be first performed in a dress rehearsal in class and then at a public performance. The first musical work will be a piece of ‘chamber music’ (for a small number of players – between 2-4), and the second musical work will be a piece for the full ensemble.<br />
<br />
Pieces typically average 4-7 minutes. Group work is encouraged – multiple students may work on the same composition.<br />
<br />
== Grading ==<br />
The importance of timely attendance and active participation in this class cannot be overstated. As a performance ensemble, we are relying on each other to be present to perform and critique each other’s work. Therefore, by joining this class, you are committing to attending every class period, as well as the following rehearsals/concerts:<br />
<br />
* May 1st – noon-6pm – group rehearsal by piece (by appt)<br />
* May 1st – 6:00pm on – [https://ccrma.stanford.edu/groups/slork/events/2016/slorktastic/ SLOrktastic Chamber Music] (concert at 7:30pm)<br />
* June 1st – 4pm-10pm – dress rehearsal #1 in Bing Concert Hall<br />
* June 2nd – 12pm on – dress rehearsal #2 in Bing Concert Hall ([https://ccrma.stanford.edu/groups/slork/events/2016/spring/ final concert at 8:00pm])<br />
<br />
If you miss a concert or dress rehearsal for any reason other than an excusable emergency, it will result in the lowering of your grade by 2 letter grades. Missing a regular class period will lower it one letter grade; being late for a regular class period will lower it by 1/3 letter grade (e.g. A goes to A-).<br />
<br />
With your attendance grade as the baseline, grades will be modulated by participation. Each class you will receive a ✓ if you come prepared to participate, are attentive in class, and demonstrate progress on your work. If you come and do not participate, are inattentive, or are unprepared, you’ll receive a ✓-. Two ✓-’s will result in the lowering of a full letter grade. ✓+’s may be given out on occasion, and may result in the raising of your final grade.<br />
<br />
You must come to class 30 minutes early (i.e. at 7pm) for at least three (3) class sessions to help set up the equipment. This counts toward your participation grade. You can sign up at this page: [[SLOrk/2016/setup_signup]].<br />
<br />
== Readings ==<br />
The unofficial textbook of the course is Programming for Musicians and Digital Artists: Creating music with ChucK (ISBN: 1617291706). It provides many good examples of features in ChucK, and will be useful for quickly gaining fluency in the language.<br />
<br />
For ChucK beginners, we also recommend Introduction to Programming for Musicians and Digital Artists, an online course from kadenze.com. You can access course videos freely by signing up for a free account at kadenze.com, and then navigating to https://www.kadenze.com/courses/introduction-to-programming-for-musicians-and-digital-artists-iii <br />
<br />
Additionally, you will be engaged in topics such as the embodiment of sound in technology-mediated performance, meaningful instrument interaction between players, and indeed, the point of a laptop orchestra. As such, we’ve amalgamated a short reading list. The readings will be made available on Coursework the week they are assigned. Although we may not necessarily be discussing them directly in class, ideas will be drawn from them to frame activities and discussions in class. They will be good perspective for the course, and indeed, for your musical life.<br />
<br />
=== Laptop Orchestra ===<br />
* [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, D., (2007). “Why a laptop orchestra?” ''Organised Sound''. 12(2), 171-179.]<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood, S., Trueman, S., Cook, P.R., Wang, G., (2008). "Composing for laptop orchestra." ''Computer Music Journal''. 32(1), 9-25.]<br />
* [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink, R., Wang, G., Cook, P.R.. “Don't Forget the Laptop: Using Native Input Capabilities for Expressive Musical Control”. In ''Proceedings of New Interfaces for Musical Expression'', 2007.]<br />
<br />
=== Gesture in Performance ===<br />
* [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, A. (1999). “Bodily Hearing: Physiological Metaphors and Musical Understanding. ''Journal of Music Theory''. 43(1), 1-19.]<br />
* Godøy, R. I. "Gestural Affordances of Musical Sound," in Musical Gestures: Sound, Movement, and Meaning, ed. Rolf Inge Godøy and Marc Leman (Routledge, 2010). pp 103-125.<br />
<br />
=== Other ===<br />
* Cook, N. Inaugural Lecture at the University of Cambridge.<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320582945 Wessel, David, and Matthew Wright. "Problems and prospects for intimate musical control of computers." Computer Music Journal 26.3 (2002): 11-22.]<br />
* [http://www.nime.org/proceedings/2015/nime2015_329.pdf Wan Rosli et al. “Ensemble Feedback Networks,” in Proceedings of the International Conference on New Interfaces for Musical Expression, Baton Rouge, Louisiana, USA, 2015, pp. 144-149.]<br />
<br />
== Dress Code ==<br />
For concerts, the dress code will be concert black, colored socks optional.<br />
<br />
== Accommodations ==<br />
If you need accommodations for any physical, psychological, or learning disability, or if you want to inform me about a medical situation, please speak to me (Ge) outside of class.<br />
<br />
== Weekly Schedule (subject to change) ==<br />
<br />
=== Week 1: Introduction (March 30th) ===<br />
Syllabus discussion, introduction to the ideas of laptop orchestra, [[SLOrk/2016/station_setup|how to set up laptop orchestra gear]]. Learn pieces from the laptop orchestra repertoire, first ChucK instrument example.<br />
* Homework: Create a short solo musical work/statement for one station.<br />
* Reading: [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, 2007]; [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink ''et al.'', 2007].<br />
<br />
=== Week 2: (April 6th) ===<br />
Initial instrument design presentation and critique; each person to give a mini-performance of 1-2 minutes; presentation on physical interaction design.<br />
* Homework: Milestone 1.<br />
* Reading: [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, 1999].<br />
<br />
=== Week 3: (April 13th) ===<br />
SLOrktastic milestone #1: initial work in-progress of piece; 3 minute performance.<br />
* Homework: Milestone 2.<br />
* Reading: TBA<br />
<br />
=== Week 4: (April 20th) ===<br />
SLOrktastic milestone #2: complete composition/performance.<br />
* Homework: Polish your piece – the concert is next week!<br />
<br />
=== Week 5: (April 27th, May 1st) ===<br />
<br />
April 27th: Dress rehearsal of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
May 1st: Tech run-through during the day (by appt). 6:00pm call (dinner provided) for 7:30pm [https://ccrma.stanford.edu/groups/slork/events/2016/slorktastic/ SLOrktastic Chamber Music Concert]. Invite your friends!<br />
* Homework: Proposal / sketch for final musical work.<br />
* Reading: [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood et al., 2008].<br />
<br />
=== Week 6: (May 4th) ===<br />
Proposal & sketch for final composition/performance; strategies and tools; networking.<br />
* Homework: Final Milestone #1<br />
* Reading: Cook, N.<br />
<br />
=== Week 7: (May 11th) ===<br />
Final Milestone #1: initial full ensemble rehearsal for each piece in-progress<br />
* Homework: Final Milestone #2<br />
<br />
=== Week 8: (May 18th) ===<br />
Final Milestone #2: full ensemble rehearsal for complete piece in-progress, with score presentation as you see fit.<br />
* Homework: Polish your work!<br />
<br />
=== Week 9: (May 25th) ===<br />
<br />
Normal class period, last workshopping and rehearsal of pieces for the [https://ccrma.stanford.edu/groups/slork/events/2016/spring/ Bing concert]. The pieces should be finished by this date; this rehearsal will be focused on ensemble coordination and performance.<br />
<br />
=== Week 10: (June 1st, June 2nd) ===<br />
<br />
June 1st:<br />
* 4pm-10pm Dress rehearsal #1 of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
June 2nd:<br />
* 12pm: Dress rehearsal #2 of pieces for the performance (schedule and order to be emailed by day previous)<br />
* 7:30pm: [https://ccrma.stanford.edu/groups/slork/events/2016/spring/ SLOrk @ Bing 2015 (Spring Concert)]</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016&diff=18905SLOrk/20162016-03-31T23:21:46Z<p>Tsob: /* Week 9: (May 25th) */ add concert link</p>
<hr />
<div>[[Image:SLOrk-Dink.jpg]]<br />
<br />
Welcome to this year's '''Music 128 / CS 170: Stanford Laptop Orchestra'''! This wiki is your portal to useful SLOrk-related info. See also the [[SLOrk/2016/FAQ|SLOrk FAQ]] and the [[SLOrk/2016/station_setup|station setup guide]]. Feel free to use our [http://piazza.com/stanford/spring2016/music128cs170 Piazza forum] for rapid communication with the class.<br />
<br />
== Regular Class Meetings ==<br />
Times: Wednesdays, 7:30 pm - 10:20 pm<br />
<br />
Room: CCRMA Stage (Knoll 315)<br />
<br />
== Directors ==<br />
* [https://ccrma.stanford.edu/~ge/ Ge Wang]<br />
* [https://ccrma.stanford.edu/~matt/ Matt Wright], co-director and guest instructor <br />
* [https://ccrma.stanford.edu/~tsob Tim O’Brien], co-director and TA<br />
<br />
== Course Description ==<br />
This course explores composing and coding for, and performance with, laptop orchestra. Topics and activities include issues of instrument design, sound synthesis, programming, composing for laptop orchestra, and live performance. Coursework includes designing laptop-mediated software musical instruments, crafting musical works, and live performance.<br />
<br />
To engage with these ideas most fully, students will write compositions and perform them live in two concerts during the spring quarter.<br />
<br />
== Musical Works ==<br />
Student output in this class will consist of at least 2 musical works (approximately one by the end of the 4th week, and the second by the end of the 8th week) – including instrument design, sound design, programming, and crafting musical presentation – to be first performed in a dress rehearsal in class and then at a public performance. The first musical work will be a piece of ‘chamber music’ (for a small number of players – between 2-4), and the second musical work will be a piece for the full ensemble.<br />
<br />
Pieces typically average 4-7 minutes. Group work is encouraged – multiple students may work on the same composition.<br />
<br />
== Grading ==<br />
The importance of timely attendance and active participation in this class cannot be overstated. As a performance ensemble, we are relying on each other to be present to perform and critique each other’s work. Therefore, by joining this class, you are committing to attending every class period, as well as the following rehearsals/concerts:<br />
<br />
* May 1st – noon-6pm – group rehearsal by piece (by appt)<br />
* May 1st – 6:00pm on – [https://ccrma.stanford.edu/groups/slork/events/2016/slorktastic/ SLOrktastic Chamber Music] (concert at 7:30pm)<br />
* June 1st – 4pm-10pm – dress rehearsal #1 in Bing Concert Hall<br />
* June 2nd – 12pm on – dress rehearsal #2 in Bing Concert Hall ([https://ccrma.stanford.edu/groups/slork/events/2016/spring/ final concert at 8:00pm])<br />
<br />
If you miss a concert or dress rehearsal for any reason other than an excusable emergency, it will result in the lowering of your grade by 2 letter grades. Missing a regular class period will lower it one letter grade; being late for a regular class period will lower it by 1/3 letter grade (e.g. A goes to A-).<br />
<br />
With your attendance grade as the baseline, grades will be modulated by participation. Each class you will receive a ✓ if you come prepared to participate, are attentive in class, and demonstrate progress on your work. If you come and do not participate, are inattentive, or are unprepared, you’ll receive a ✓-. Two ✓-’s will result in the lowering of a full letter grade. ✓+’s may be given out on occasion, and may result in the raising of your final grade.<br />
<br />
You must come to class 30 minutes early (i.e. at 7pm) for at least three (3) class sessions to help set up the equipment. This counts toward your participation grade. You can sign up at this page: [[SLOrk/2016/setup_signup]].<br />
<br />
== Readings ==<br />
The unofficial textbook of the course is Programming for Musicians and Digital Artists: Creating music with ChucK (ISBN: 1617291706). It provides many good examples of features in ChucK, and will be useful for quickly gaining fluency in the language.<br />
<br />
For ChucK beginners, we also recommend Introduction to Programming for Musicians and Digital Artists, an online course from kadenze.com. You can access course videos freely by signing up for a free account at kadenze.com, and then navigating to https://www.kadenze.com/courses/introduction-to-programming-for-musicians-and-digital-artists-iii <br />
<br />
Additionally, you will be engaged in topics such as the embodiment of sound in technology-mediated performance, meaningful instrument interaction between players, and indeed, the point of a laptop orchestra. As such, we’ve amalgamated a short reading list. The readings will be made available on Coursework the week they are assigned. Although we may not necessarily be discussing them directly in class, ideas will be drawn from them to frame activities and discussions in class. They will be good perspective for the course, and indeed, for your musical life.<br />
<br />
=== Laptop Orchestra ===<br />
* [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, D., (2007). “Why a laptop orchestra?” ''Organised Sound''. 12(2), 171-179.]<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood, S., Trueman, S., Cook, P.R., Wang, G., (2008). "Composing for laptop orchestra." ''Computer Music Journal''. 32(1), 9-25.]<br />
* [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink, R., Wang, G., Cook, P.R.. “Don't Forget the Laptop: Using Native Input Capabilities for Expressive Musical Control”. In ''Proceedings of New Interfaces for Musical Expression'', 2007.]<br />
<br />
=== Gesture in Performance ===<br />
* [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, A. (1999). “Bodily Hearing: Physiological Metaphors and Musical Understanding. ''Journal of Music Theory''. 43(1), 1-19.]<br />
* Godøy, R. I. "Gestural Affordances of Musical Sound," in Musical Gestures: Sound, Movement, and Meaning, ed. Rolf Inge Godøy and Marc Leman (Routledge, 2010). pp 103-125.<br />
<br />
=== Other ===<br />
* Cook, N. Inaugural Lecture at the University of Cambridge.<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320582945 Wessel, David, and Matthew Wright. "Problems and prospects for intimate musical control of computers." Computer Music Journal 26.3 (2002): 11-22.]<br />
* [http://www.nime.org/proceedings/2015/nime2015_329.pdf Wan Rosli et al. “Ensemble Feedback Networks,” in Proceedings of the International Conference on New Interfaces for Musical Expression, Baton Rouge, Louisiana, USA, 2015, pp. 144-149.]<br />
<br />
== Dress Code ==<br />
For concerts, the dress code will be concert black, colored socks optional.<br />
<br />
== Accommodations ==<br />
If you need accommodations for any physical, psychological, or learning disability, or if you want to inform me about a medical situation, please speak to me (Ge) outside of class.<br />
<br />
== Weekly Schedule (subject to change) ==<br />
<br />
=== Week 1: Introduction (March 30th) ===<br />
Syllabus discussion, introduction to the ideas of laptop orchestra, [[SLOrk/2016/station_setup|how to set up laptop orchestra gear]]. Learn pieces from the laptop orchestra repertoire, first ChucK instrument example.<br />
* Homework: Create a short solo musical work/statement for one station.<br />
* Reading: [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, 2007]; [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink ''et al.'', 2007].<br />
<br />
=== Week 2: (April 6th) ===<br />
Initial instrument design presentation and critique; each person to give a mini-performance of 1-2 minutes; presentation on physical interaction design.<br />
* Homework: Milestone 1.<br />
* Reading: [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, 1999].<br />
<br />
=== Week 3: (April 13th) ===<br />
SLOrktastic milestone #1: initial work in-progress of piece; 3 minute performance.<br />
* Homework: Milestone 2.<br />
* Reading: TBA<br />
<br />
=== Week 4: (April 20th) ===<br />
SLOrktastic milestone #2: complete composition/performance.<br />
* Homework: Polish your piece – the concert is next week!<br />
<br />
=== Week 5: (April 27th, May 1st) ===<br />
<br />
April 27th: Dress rehearsal of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
May 1st: Tech run-through during the day (by appt). 6:00pm call (dinner provided) for 7:30pm [https://ccrma.stanford.edu/groups/slork/events/2016/slorktastic/ SLOrktastic Chamber Music Concert]. Invite your friends!<br />
* Homework: Proposal / sketch for final musical work.<br />
* Reading: [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood et al., 2008].<br />
<br />
=== Week 6: (May 4th) ===<br />
Proposal & sketch for final composition/performance; strategies and tools; networking.<br />
* Homework: Final Milestone #1<br />
* Reading: Cook, N.<br />
<br />
=== Week 7: (May 11th) ===<br />
Final Milestone #1: initial full ensemble rehearsal for each piece in-progress<br />
* Homework: Final Milestone #2<br />
<br />
=== Week 8: (May 18th) ===<br />
Final Milestone #2: full ensemble rehearsal for complete piece in-progress, with score presentation as you see fit.<br />
* Homework: Polish your work!<br />
<br />
=== Week 9: (May 25th) ===<br />
<br />
Normal class period, last workshopping and rehearsal of pieces for the [https://ccrma.stanford.edu/groups/slork/events/2016/spring/ Bing concert]. The pieces should be finished by this date; this rehearsal will be focused on ensemble coordination and performance.<br />
<br />
=== Week 10: (June 1st, June 2nd) ===<br />
<br />
June 1st:<br />
* 4pm-10pm Dress rehearsal #1 of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
June 2nd:<br />
* 12pm: Dress rehearsal #2 of pieces for the performance (schedule and order to be emailed by day previous)<br />
* 7:30pm: SLOrk @ Bing 2015 (Spring Concert)</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016&diff=18904SLOrk/20162016-03-31T23:21:05Z<p>Tsob: /* Week 5: (April 27th, May 1st) */ correct concert link</p>
<hr />
<div>[[Image:SLOrk-Dink.jpg]]<br />
<br />
Welcome to this year's '''Music 128 / CS 170: Stanford Laptop Orchestra'''! This wiki is your portal to useful SLOrk-related info. See also the [[SLOrk/2016/FAQ|SLOrk FAQ]] and the [[SLOrk/2016/station_setup|station setup guide]]. Feel free to use our [http://piazza.com/stanford/spring2016/music128cs170 Piazza forum] for rapid communication with the class.<br />
<br />
== Regular Class Meetings ==<br />
Times: Wednesdays, 7:30 pm - 10:20 pm<br />
<br />
Room: CCRMA Stage (Knoll 315)<br />
<br />
== Directors ==<br />
* [https://ccrma.stanford.edu/~ge/ Ge Wang]<br />
* [https://ccrma.stanford.edu/~matt/ Matt Wright], co-director and guest instructor <br />
* [https://ccrma.stanford.edu/~tsob Tim O’Brien], co-director and TA<br />
<br />
== Course Description ==<br />
This course explores composing and coding for, and performance with, laptop orchestra. Topics and activities include issues of instrument design, sound synthesis, programming, composing for laptop orchestra, and live performance. Coursework includes designing laptop-mediated software musical instruments, crafting musical works, and live performance.<br />
<br />
To engage with these ideas most fully, students will write compositions and perform them live in two concerts during the spring quarter.<br />
<br />
== Musical Works ==<br />
Student output in this class will consist of at least 2 musical works (approximately one by the end of the 4th week, and the second by the end of the 8th week) – including instrument design, sound design, programming, and crafting musical presentation – to be first performed in a dress rehearsal in class and then at a public performance. The first musical work will be a piece of ‘chamber music’ (for a small number of players – between 2-4), and the second musical work will be a piece for the full ensemble.<br />
<br />
Pieces typically average 4-7 minutes. Group work is encouraged – multiple students may work on the same composition.<br />
<br />
== Grading ==<br />
The importance of timely attendance and active participation in this class cannot be overstated. As a performance ensemble, we are relying on each other to be present to perform and critique each other’s work. Therefore, by joining this class, you are committing to attending every class period, as well as the following rehearsals/concerts:<br />
<br />
* May 1st – noon-6pm – group rehearsal by piece (by appt)<br />
* May 1st – 6:00pm on – [https://ccrma.stanford.edu/groups/slork/events/2016/slorktastic/ SLOrktastic Chamber Music] (concert at 7:30pm)<br />
* June 1st – 4pm-10pm – dress rehearsal #1 in Bing Concert Hall<br />
* June 2nd – 12pm on – dress rehearsal #2 in Bing Concert Hall ([https://ccrma.stanford.edu/groups/slork/events/2016/spring/ final concert at 8:00pm])<br />
<br />
If you miss a concert or dress rehearsal for any reason other than an excusable emergency, it will result in the lowering of your grade by 2 letter grades. Missing a regular class period will lower it one letter grade; being late for a regular class period will lower it by 1/3 letter grade (e.g. A goes to A-).<br />
<br />
With your attendance grade as the baseline, grades will be modulated by participation. Each class you will receive a ✓ if you come prepared to participate, are attentive in class, and demonstrate progress on your work. If you come and do not participate, are inattentive, or are unprepared, you’ll receive a ✓-. Two ✓-’s will result in the lowering of a full letter grade. ✓+’s may be given out on occasion, and may result in the raising of your final grade.<br />
<br />
You must come to class 30 minutes early (i.e. at 7pm) for at least three (3) class sessions to help set up the equipment. This counts toward your participation grade. You can sign up at this page: [[SLOrk/2016/setup_signup]].<br />
<br />
== Readings ==<br />
The unofficial textbook of the course is Programming for Musicians and Digital Artists: Creating music with ChucK (ISBN: 1617291706). It provides many good examples of features in ChucK, and will be useful for quickly gaining fluency in the language.<br />
<br />
For ChucK beginners, we also recommend Introduction to Programming for Musicians and Digital Artists, an online course from kadenze.com. You can access course videos freely by signing up for a free account at kadenze.com, and then navigating to https://www.kadenze.com/courses/introduction-to-programming-for-musicians-and-digital-artists-iii <br />
<br />
Additionally, you will be engaged in topics such as the embodiment of sound in technology-mediated performance, meaningful instrument interaction between players, and indeed, the point of a laptop orchestra. As such, we’ve amalgamated a short reading list. The readings will be made available on Coursework the week they are assigned. Although we may not necessarily be discussing them directly in class, ideas will be drawn from them to frame activities and discussions in class. They will be good perspective for the course, and indeed, for your musical life.<br />
<br />
=== Laptop Orchestra ===<br />
* [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, D., (2007). “Why a laptop orchestra?” ''Organised Sound''. 12(2), 171-179.]<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood, S., Trueman, S., Cook, P.R., Wang, G., (2008). "Composing for laptop orchestra." ''Computer Music Journal''. 32(1), 9-25.]<br />
* [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink, R., Wang, G., Cook, P.R.. “Don't Forget the Laptop: Using Native Input Capabilities for Expressive Musical Control”. In ''Proceedings of New Interfaces for Musical Expression'', 2007.]<br />
<br />
=== Gesture in Performance ===<br />
* [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, A. (1999). “Bodily Hearing: Physiological Metaphors and Musical Understanding. ''Journal of Music Theory''. 43(1), 1-19.]<br />
* Godøy, R. I. "Gestural Affordances of Musical Sound," in Musical Gestures: Sound, Movement, and Meaning, ed. Rolf Inge Godøy and Marc Leman (Routledge, 2010). pp 103-125.<br />
<br />
=== Other ===<br />
* Cook, N. Inaugural Lecture at the University of Cambridge.<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320582945 Wessel, David, and Matthew Wright. "Problems and prospects for intimate musical control of computers." Computer Music Journal 26.3 (2002): 11-22.]<br />
* [http://www.nime.org/proceedings/2015/nime2015_329.pdf Wan Rosli et al. “Ensemble Feedback Networks,” in Proceedings of the International Conference on New Interfaces for Musical Expression, Baton Rouge, Louisiana, USA, 2015, pp. 144-149.]<br />
<br />
== Dress Code ==<br />
For concerts, the dress code will be concert black, colored socks optional.<br />
<br />
== Accommodations ==<br />
If you need accommodations for any physical, psychological, or learning disability, or if you want to inform me about a medical situation, please speak to me (Ge) outside of class.<br />
<br />
== Weekly Schedule (subject to change) ==<br />
<br />
=== Week 1: Introduction (March 30th) ===<br />
Syllabus discussion, introduction to the ideas of laptop orchestra, [[SLOrk/2016/station_setup|how to set up laptop orchestra gear]]. Learn pieces from the laptop orchestra repertoire, first ChucK instrument example.<br />
* Homework: Create a short solo musical work/statement for one station.<br />
* Reading: [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, 2007]; [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink ''et al.'', 2007].<br />
<br />
=== Week 2: (April 6th) ===<br />
Initial instrument design presentation and critique; each person to give a mini-performance of 1-2 minutes; presentation on physical interaction design.<br />
* Homework: Milestone 1.<br />
* Reading: [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, 1999].<br />
<br />
=== Week 3: (April 13th) ===<br />
SLOrktastic milestone #1: initial work in-progress of piece; 3 minute performance.<br />
* Homework: Milestone 2.<br />
* Reading: TBA<br />
<br />
=== Week 4: (April 20th) ===<br />
SLOrktastic milestone #2: complete composition/performance.<br />
* Homework: Polish your piece – the concert is next week!<br />
<br />
=== Week 5: (April 27th, May 1st) ===<br />
<br />
April 27th: Dress rehearsal of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
May 1st: Tech run-through during the day (by appt). 6:00pm call (dinner provided) for 7:30pm [https://ccrma.stanford.edu/groups/slork/events/2016/slorktastic/ SLOrktastic Chamber Music Concert]. Invite your friends!<br />
* Homework: Proposal / sketch for final musical work.<br />
* Reading: [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood et al., 2008].<br />
<br />
=== Week 6: (May 4th) ===<br />
Proposal & sketch for final composition/performance; strategies and tools; networking.<br />
* Homework: Final Milestone #1<br />
* Reading: Cook, N.<br />
<br />
=== Week 7: (May 11th) ===<br />
Final Milestone #1: initial full ensemble rehearsal for each piece in-progress<br />
* Homework: Final Milestone #2<br />
<br />
=== Week 8: (May 18th) ===<br />
Final Milestone #2: full ensemble rehearsal for complete piece in-progress, with score presentation as you see fit.<br />
* Homework: Polish your work!<br />
<br />
=== Week 9: (May 25th) ===<br />
<br />
Normal class period, last workshopping and rehearsal of pieces for the Bing concert. The pieces should be finished by this date; this rehearsal will be focused on ensemble coordination and performance.<br />
<br />
=== Week 10: (June 1st, June 2nd) ===<br />
<br />
June 1st:<br />
* 4pm-10pm Dress rehearsal #1 of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
June 2nd:<br />
* 12pm: Dress rehearsal #2 of pieces for the performance (schedule and order to be emailed by day previous)<br />
* 7:30pm: SLOrk @ Bing 2015 (Spring Concert)</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016&diff=18903SLOrk/20162016-03-31T23:20:10Z<p>Tsob: /* Week 5: (April 27th, May 1st) */ add concert link</p>
<hr />
<div>[[Image:SLOrk-Dink.jpg]]<br />
<br />
Welcome to this year's '''Music 128 / CS 170: Stanford Laptop Orchestra'''! This wiki is your portal to useful SLOrk-related info. See also the [[SLOrk/2016/FAQ|SLOrk FAQ]] and the [[SLOrk/2016/station_setup|station setup guide]]. Feel free to use our [http://piazza.com/stanford/spring2016/music128cs170 Piazza forum] for rapid communication with the class.<br />
<br />
== Regular Class Meetings ==<br />
Times: Wednesdays, 7:30 pm - 10:20 pm<br />
<br />
Room: CCRMA Stage (Knoll 315)<br />
<br />
== Directors ==<br />
* [https://ccrma.stanford.edu/~ge/ Ge Wang]<br />
* [https://ccrma.stanford.edu/~matt/ Matt Wright], co-director and guest instructor <br />
* [https://ccrma.stanford.edu/~tsob Tim O’Brien], co-director and TA<br />
<br />
== Course Description ==<br />
This course explores composing and coding for, and performance with, laptop orchestra. Topics and activities include issues of instrument design, sound synthesis, programming, composing for laptop orchestra, and live performance. Coursework includes designing laptop-mediated software musical instruments, crafting musical works, and live performance.<br />
<br />
To engage with these ideas most fully, students will write compositions and perform them live in two concerts during the spring quarter.<br />
<br />
== Musical Works ==<br />
Student output in this class will consist of at least 2 musical works (approximately one by the end of the 4th week, and the second by the end of the 8th week) – including instrument design, sound design, programming, and crafting musical presentation – to be first performed in a dress rehearsal in class and then at a public performance. The first musical work will be a piece of ‘chamber music’ (for a small number of players – between 2-4), and the second musical work will be a piece for the full ensemble.<br />
<br />
Pieces typically average 4-7 minutes. Group work is encouraged – multiple students may work on the same composition.<br />
<br />
== Grading ==<br />
The importance of timely attendance and active participation in this class cannot be overstated. As a performance ensemble, we are relying on each other to be present to perform and critique each other’s work. Therefore, by joining this class, you are committing to attending every class period, as well as the following rehearsals/concerts:<br />
<br />
* May 1st – noon-6pm – group rehearsal by piece (by appt)<br />
* May 1st – 6:00pm on – [https://ccrma.stanford.edu/groups/slork/events/2016/slorktastic/ SLOrktastic Chamber Music] (concert at 7:30pm)<br />
* June 1st – 4pm-10pm – dress rehearsal #1 in Bing Concert Hall<br />
* June 2nd – 12pm on – dress rehearsal #2 in Bing Concert Hall ([https://ccrma.stanford.edu/groups/slork/events/2016/spring/ final concert at 8:00pm])<br />
<br />
If you miss a concert or dress rehearsal for any reason other than an excusable emergency, it will result in the lowering of your grade by 2 letter grades. Missing a regular class period will lower it one letter grade; being late for a regular class period will lower it by 1/3 letter grade (e.g. A goes to A-).<br />
<br />
With your attendance grade as the baseline, grades will be modulated by participation. Each class you will receive a ✓ if you come prepared to participate, are attentive in class, and demonstrate progress on your work. If you come and do not participate, are inattentive, or are unprepared, you’ll receive a ✓-. Two ✓-’s will result in the lowering of a full letter grade. ✓+’s may be given out on occasion, and may result in the raising of your final grade.<br />
<br />
You must come to class 30 minutes early (i.e. at 7pm) for at least three (3) class sessions to help set up the equipment. This counts toward your participation grade. You can sign up at this page: [[SLOrk/2016/setup_signup]].<br />
<br />
== Readings ==<br />
The unofficial textbook of the course is Programming for Musicians and Digital Artists: Creating music with ChucK (ISBN: 1617291706). It provides many good examples of features in ChucK, and will be useful for quickly gaining fluency in the language.<br />
<br />
For ChucK beginners, we also recommend Introduction to Programming for Musicians and Digital Artists, an online course from kadenze.com. You can access course videos freely by signing up for a free account at kadenze.com, and then navigating to https://www.kadenze.com/courses/introduction-to-programming-for-musicians-and-digital-artists-iii <br />
<br />
Additionally, you will be engaged in topics such as the embodiment of sound in technology-mediated performance, meaningful instrument interaction between players, and indeed, the point of a laptop orchestra. As such, we’ve amalgamated a short reading list. The readings will be made available on Coursework the week they are assigned. Although we may not necessarily be discussing them directly in class, ideas will be drawn from them to frame activities and discussions in class. They will be good perspective for the course, and indeed, for your musical life.<br />
<br />
=== Laptop Orchestra ===<br />
* [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, D., (2007). “Why a laptop orchestra?” ''Organised Sound''. 12(2), 171-179.]<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood, S., Trueman, S., Cook, P.R., Wang, G., (2008). "Composing for laptop orchestra." ''Computer Music Journal''. 32(1), 9-25.]<br />
* [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink, R., Wang, G., Cook, P.R.. “Don't Forget the Laptop: Using Native Input Capabilities for Expressive Musical Control”. In ''Proceedings of New Interfaces for Musical Expression'', 2007.]<br />
<br />
=== Gesture in Performance ===<br />
* [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, A. (1999). “Bodily Hearing: Physiological Metaphors and Musical Understanding. ''Journal of Music Theory''. 43(1), 1-19.]<br />
* Godøy, R. I. "Gestural Affordances of Musical Sound," in Musical Gestures: Sound, Movement, and Meaning, ed. Rolf Inge Godøy and Marc Leman (Routledge, 2010). pp 103-125.<br />
<br />
=== Other ===<br />
* Cook, N. Inaugural Lecture at the University of Cambridge.<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320582945 Wessel, David, and Matthew Wright. "Problems and prospects for intimate musical control of computers." Computer Music Journal 26.3 (2002): 11-22.]<br />
* [http://www.nime.org/proceedings/2015/nime2015_329.pdf Wan Rosli et al. “Ensemble Feedback Networks,” in Proceedings of the International Conference on New Interfaces for Musical Expression, Baton Rouge, Louisiana, USA, 2015, pp. 144-149.]<br />
<br />
== Dress Code ==<br />
For concerts, the dress code will be concert black, colored socks optional.<br />
<br />
== Accommodations ==<br />
If you need accommodations for any physical, psychological, or learning disability, or if you want to inform me about a medical situation, please speak to me (Ge) outside of class.<br />
<br />
== Weekly Schedule (subject to change) ==<br />
<br />
=== Week 1: Introduction (March 30th) ===<br />
Syllabus discussion, introduction to the ideas of laptop orchestra, [[SLOrk/2016/station_setup|how to set up laptop orchestra gear]]. Learn pieces from the laptop orchestra repertoire, first ChucK instrument example.<br />
* Homework: Create a short solo musical work/statement for one station.<br />
* Reading: [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, 2007]; [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink ''et al.'', 2007].<br />
<br />
=== Week 2: (April 6th) ===<br />
Initial instrument design presentation and critique; each person to give a mini-performance of 1-2 minutes; presentation on physical interaction design.<br />
* Homework: Milestone 1.<br />
* Reading: [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, 1999].<br />
<br />
=== Week 3: (April 13th) ===<br />
SLOrktastic milestone #1: initial work in-progress of piece; 3 minute performance.<br />
* Homework: Milestone 2.<br />
* Reading: TBA<br />
<br />
=== Week 4: (April 20th) ===<br />
SLOrktastic milestone #2: complete composition/performance.<br />
* Homework: Polish your piece – the concert is next week!<br />
<br />
=== Week 5: (April 27th, May 1st) ===<br />
<br />
April 27th: Dress rehearsal of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
May 1st: Tech run-through during the day (by appt). 6:00pm call (dinner provided) for 7:30pm [https://ccrma.stanford.edu/groups/slork/events/2016/spring/ SLOrktastic Chamber Music Concert]. Invite your friends!<br />
* Homework: Proposal / sketch for final musical work.<br />
* Reading: [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood et al., 2008].<br />
<br />
=== Week 6: (May 4th) ===<br />
Proposal & sketch for final composition/performance; strategies and tools; networking.<br />
* Homework: Final Milestone #1<br />
* Reading: Cook, N.<br />
<br />
=== Week 7: (May 11th) ===<br />
Final Milestone #1: initial full ensemble rehearsal for each piece in-progress<br />
* Homework: Final Milestone #2<br />
<br />
=== Week 8: (May 18th) ===<br />
Final Milestone #2: full ensemble rehearsal for complete piece in-progress, with score presentation as you see fit.<br />
* Homework: Polish your work!<br />
<br />
=== Week 9: (May 25th) ===<br />
<br />
Normal class period, last workshopping and rehearsal of pieces for the Bing concert. The pieces should be finished by this date; this rehearsal will be focused on ensemble coordination and performance.<br />
<br />
=== Week 10: (June 1st, June 2nd) ===<br />
<br />
June 1st:<br />
* 4pm-10pm Dress rehearsal #1 of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
June 2nd:<br />
* 12pm: Dress rehearsal #2 of pieces for the performance (schedule and order to be emailed by day previous)<br />
* 7:30pm: SLOrk @ Bing 2015 (Spring Concert)</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016&diff=18902SLOrk/20162016-03-31T23:19:30Z<p>Tsob: /* Grading */ add concert links</p>
<hr />
<div>[[Image:SLOrk-Dink.jpg]]<br />
<br />
Welcome to this year's '''Music 128 / CS 170: Stanford Laptop Orchestra'''! This wiki is your portal to useful SLOrk-related info. See also the [[SLOrk/2016/FAQ|SLOrk FAQ]] and the [[SLOrk/2016/station_setup|station setup guide]]. Feel free to use our [http://piazza.com/stanford/spring2016/music128cs170 Piazza forum] for rapid communication with the class.<br />
<br />
== Regular Class Meetings ==<br />
Times: Wednesdays, 7:30 pm - 10:20 pm<br />
<br />
Room: CCRMA Stage (Knoll 315)<br />
<br />
== Directors ==<br />
* [https://ccrma.stanford.edu/~ge/ Ge Wang]<br />
* [https://ccrma.stanford.edu/~matt/ Matt Wright], co-director and guest instructor <br />
* [https://ccrma.stanford.edu/~tsob Tim O’Brien], co-director and TA<br />
<br />
== Course Description ==<br />
This course explores composing and coding for, and performance with, laptop orchestra. Topics and activities include issues of instrument design, sound synthesis, programming, composing for laptop orchestra, and live performance. Coursework includes designing laptop-mediated software musical instruments, crafting musical works, and live performance.<br />
<br />
To engage with these ideas most fully, students will write compositions and perform them live in two concerts during the spring quarter.<br />
<br />
== Musical Works ==<br />
Student output in this class will consist of at least 2 musical works (approximately one by the end of the 4th week, and the second by the end of the 8th week) – including instrument design, sound design, programming, and crafting musical presentation – to be first performed in a dress rehearsal in class and then at a public performance. The first musical work will be a piece of ‘chamber music’ (for a small number of players – between 2-4), and the second musical work will be a piece for the full ensemble.<br />
<br />
Pieces typically average 4-7 minutes. Group work is encouraged – multiple students may work on the same composition.<br />
<br />
== Grading ==<br />
The importance of timely attendance and active participation in this class cannot be overstated. As a performance ensemble, we are relying on each other to be present to perform and critique each other’s work. Therefore, by joining this class, you are committing to attending every class period, as well as the following rehearsals/concerts:<br />
<br />
* May 1st – noon-6pm – group rehearsal by piece (by appt)<br />
* May 1st – 6:00pm on – [https://ccrma.stanford.edu/groups/slork/events/2016/slorktastic/ SLOrktastic Chamber Music] (concert at 7:30pm)<br />
* June 1st – 4pm-10pm – dress rehearsal #1 in Bing Concert Hall<br />
* June 2nd – 12pm on – dress rehearsal #2 in Bing Concert Hall ([https://ccrma.stanford.edu/groups/slork/events/2016/spring/ final concert at 8:00pm])<br />
<br />
If you miss a concert or dress rehearsal for any reason other than an excusable emergency, it will result in the lowering of your grade by 2 letter grades. Missing a regular class period will lower it one letter grade; being late for a regular class period will lower it by 1/3 letter grade (e.g. A goes to A-).<br />
<br />
With your attendance grade as the baseline, grades will be modulated by participation. Each class you will receive a ✓ if you come prepared to participate, are attentive in class, and demonstrate progress on your work. If you come and do not participate, are inattentive, or are unprepared, you’ll receive a ✓-. Two ✓-’s will result in the lowering of a full letter grade. ✓+’s may be given out on occasion, and may result in the raising of your final grade.<br />
<br />
You must come to class 30 minutes early (i.e. at 7pm) for at least three (3) class sessions to help set up the equipment. This counts toward your participation grade. You can sign up at this page: [[SLOrk/2016/setup_signup]].<br />
<br />
== Readings ==<br />
The unofficial textbook of the course is Programming for Musicians and Digital Artists: Creating music with ChucK (ISBN: 1617291706). It provides many good examples of features in ChucK, and will be useful for quickly gaining fluency in the language.<br />
<br />
For ChucK beginners, we also recommend Introduction to Programming for Musicians and Digital Artists, an online course from kadenze.com. You can access course videos freely by signing up for a free account at kadenze.com, and then navigating to https://www.kadenze.com/courses/introduction-to-programming-for-musicians-and-digital-artists-iii <br />
<br />
Additionally, you will be engaged in topics such as the embodiment of sound in technology-mediated performance, meaningful instrument interaction between players, and indeed, the point of a laptop orchestra. As such, we’ve amalgamated a short reading list. The readings will be made available on Coursework the week they are assigned. Although we may not necessarily be discussing them directly in class, ideas will be drawn from them to frame activities and discussions in class. They will be good perspective for the course, and indeed, for your musical life.<br />
<br />
=== Laptop Orchestra ===<br />
* [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, D., (2007). “Why a laptop orchestra?” ''Organised Sound''. 12(2), 171-179.]<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood, S., Trueman, S., Cook, P.R., Wang, G., (2008). "Composing for laptop orchestra." ''Computer Music Journal''. 32(1), 9-25.]<br />
* [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink, R., Wang, G., Cook, P.R.. “Don't Forget the Laptop: Using Native Input Capabilities for Expressive Musical Control”. In ''Proceedings of New Interfaces for Musical Expression'', 2007.]<br />
<br />
=== Gesture in Performance ===<br />
* [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, A. (1999). “Bodily Hearing: Physiological Metaphors and Musical Understanding. ''Journal of Music Theory''. 43(1), 1-19.]<br />
* Godøy, R. I. "Gestural Affordances of Musical Sound," in Musical Gestures: Sound, Movement, and Meaning, ed. Rolf Inge Godøy and Marc Leman (Routledge, 2010). pp 103-125.<br />
<br />
=== Other ===<br />
* Cook, N. Inaugural Lecture at the University of Cambridge.<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320582945 Wessel, David, and Matthew Wright. "Problems and prospects for intimate musical control of computers." Computer Music Journal 26.3 (2002): 11-22.]<br />
* [http://www.nime.org/proceedings/2015/nime2015_329.pdf Wan Rosli et al. “Ensemble Feedback Networks,” in Proceedings of the International Conference on New Interfaces for Musical Expression, Baton Rouge, Louisiana, USA, 2015, pp. 144-149.]<br />
<br />
== Dress Code ==<br />
For concerts, the dress code will be concert black, colored socks optional.<br />
<br />
== Accommodations ==<br />
If you need accommodations for any physical, psychological, or learning disability, or if you want to inform me about a medical situation, please speak to me (Ge) outside of class.<br />
<br />
== Weekly Schedule (subject to change) ==<br />
<br />
=== Week 1: Introduction (March 30th) ===<br />
Syllabus discussion, introduction to the ideas of laptop orchestra, [[SLOrk/2016/station_setup|how to set up laptop orchestra gear]]. Learn pieces from the laptop orchestra repertoire, first ChucK instrument example.<br />
* Homework: Create a short solo musical work/statement for one station.<br />
* Reading: [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, 2007]; [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink ''et al.'', 2007].<br />
<br />
=== Week 2: (April 6th) ===<br />
Initial instrument design presentation and critique; each person to give a mini-performance of 1-2 minutes; presentation on physical interaction design.<br />
* Homework: Milestone 1.<br />
* Reading: [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, 1999].<br />
<br />
=== Week 3: (April 13th) ===<br />
SLOrktastic milestone #1: initial work in-progress of piece; 3 minute performance.<br />
* Homework: Milestone 2.<br />
* Reading: TBA<br />
<br />
=== Week 4: (April 20th) ===<br />
SLOrktastic milestone #2: complete composition/performance.<br />
* Homework: Polish your piece – the concert is next week!<br />
<br />
=== Week 5: (April 27th, May 1st) ===<br />
<br />
April 27th: Dress rehearsal of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
May 1st: Tech run-through during the day (by appt). 6:00pm call (dinner provided) for 7:30pm SLOrktastic Chamber Music Concert. Invite your friends!<br />
* Homework: Proposal / sketch for final musical work.<br />
* Reading: [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood et al., 2008].<br />
<br />
=== Week 6: (May 4th) ===<br />
Proposal & sketch for final composition/performance; strategies and tools; networking.<br />
* Homework: Final Milestone #1<br />
* Reading: Cook, N.<br />
<br />
=== Week 7: (May 11th) ===<br />
Final Milestone #1: initial full ensemble rehearsal for each piece in-progress<br />
* Homework: Final Milestone #2<br />
<br />
=== Week 8: (May 18th) ===<br />
Final Milestone #2: full ensemble rehearsal for complete piece in-progress, with score presentation as you see fit.<br />
* Homework: Polish your work!<br />
<br />
=== Week 9: (May 25th) ===<br />
<br />
Normal class period, last workshopping and rehearsal of pieces for the Bing concert. The pieces should be finished by this date; this rehearsal will be focused on ensemble coordination and performance.<br />
<br />
=== Week 10: (June 1st, June 2nd) ===<br />
<br />
June 1st:<br />
* 4pm-10pm Dress rehearsal #1 of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
June 2nd:<br />
* 12pm: Dress rehearsal #2 of pieces for the performance (schedule and order to be emailed by day previous)<br />
* 7:30pm: SLOrk @ Bing 2015 (Spring Concert)</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016/station_setup&diff=18901SLOrk/2016/station setup2016-03-31T23:14:49Z<p>Tsob: /* Ingredients */</p>
<hr />
<div>This page details how to set up a SLOrk station.<br />
<br />
== Ingredients ==<br />
* 1 large rectangular SLOrk pillow.<br />
* 1 small circular SLOrk pillow.<br />
* 1 small IKEA table.<br />
* 1 MOTU, preferably the MOTU Ultralite mk3<br />
* 1 firewire cable (for connecting MOTU to laptop)<br />
* 1 Hemi speaker<br />
* 1 power adapter (for Hemi speaker)<br />
* 1 SLOrk Laptop (''aka'' a SLOrktop)<br />
* 1 laptop power adaptor<br />
* 1 blue cable snake (6-channels, for connecting MOTU to SLOrktop)<br />
<br />
[[File:SLOrk-lr-04s.jpg|none|frame|Several hemis, the hemispherical loudspeaker arrays used by SLOrk.]]<br />
<br />
== Assembly ==<br />
# Place the large rectangular pillow on the floor where you'll sit.<br />
# Place the circular pillow on top of the rectangular pillow. This is where you'll be sitting.<br />
# Place the small IKEA table directly in front of your pillows.<br />
# Place the SLOrk laptop on top of the IKEA table.<br />
# Place the MOTU directly underneath the IKEA table.<br />
# Place the Hemi speaker next to the IKEA table.<br />
# Plug in the laptop power.<br />
# Plug in the Hemi speaker power.<br />
# Use the Firewire cable to connect the MOTU to the laptop. (Note: when using the Firewire cable, we don't need a separate cable to power the MOTU.)<br />
# Use the cable snake to connect the MOTU to the Hemi.<br />
#* The cables are numbered on each end.<br />
#* The jacks are fatter on one end than the other. IMPORTANT: you'll plug the fatter side into the Hemi, since they won't fit side-by-side into the MOTU.<br />
#* Cables 1 and 2 plug into the MOTU main (left, right) outs. Cables 3-6 plug into MOTU analog audio out channels 1-4, respectively.<br />
#* On the Hemi side, the channels are (from left to right) 1-6.<br />
<br />
[[File:MOTU Ultralite mk3 panels.jpg|thumb|720px|none|The front (top) and back (bottom) panels for the MOTU Ultralite mk3.]]<br />
<br />
== Testing ==<br />
* Open up the laptop and sign in.<br />
* Your MOTU should be powered on as well; use the MOTU's master volume knob and set it to -20 dB.<br />
* In your laptop's system preferences, ensure that the sound output is the MOTU Ultralite.<br />
* Open up a terminal and type <code>hemi-test</code>. This will output a click in each channel successively, with ascending pitch. You should hear six distinct clicks over and over again.<br />
* Feel free to find us for troubleshooting, or consult the [[SLOrk/2016/FAQ|FAQs]].</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016/station_setup&diff=18900SLOrk/2016/station setup2016-03-31T23:14:14Z<p>Tsob: /* Ingredients */ add hemi pic</p>
<hr />
<div>This page details how to set up a SLOrk station.<br />
<br />
== Ingredients ==<br />
* 1 large rectangular SLOrk pillow.<br />
* 1 small circular SLOrk pillow.<br />
* 1 small IKEA table.<br />
* 1 MOTU, preferably the MOTU Ultralite mk3<br />
* 1 firewire cable (for connecting MOTU to laptop)<br />
* 1 Hemi speaker<br />
* 1 power adapter (for Hemi speaker)<br />
* 1 SLOrk Laptop (''aka'' a SLOrktop)<br />
* 1 laptop power adaptor<br />
* 1 blue cable snake (6-channels, for connecting MOTU to SLOrktop)<br />
<br />
[[File:SLOrk-lr-04s.jpg|none|frame|A Hemi, or hemispherical loudspeaker array.]]<br />
<br />
== Assembly ==<br />
# Place the large rectangular pillow on the floor where you'll sit.<br />
# Place the circular pillow on top of the rectangular pillow. This is where you'll be sitting.<br />
# Place the small IKEA table directly in front of your pillows.<br />
# Place the SLOrk laptop on top of the IKEA table.<br />
# Place the MOTU directly underneath the IKEA table.<br />
# Place the Hemi speaker next to the IKEA table.<br />
# Plug in the laptop power.<br />
# Plug in the Hemi speaker power.<br />
# Use the Firewire cable to connect the MOTU to the laptop. (Note: when using the Firewire cable, we don't need a separate cable to power the MOTU.)<br />
# Use the cable snake to connect the MOTU to the Hemi.<br />
#* The cables are numbered on each end.<br />
#* The jacks are fatter on one end than the other. IMPORTANT: you'll plug the fatter side into the Hemi, since they won't fit side-by-side into the MOTU.<br />
#* Cables 1 and 2 plug into the MOTU main (left, right) outs. Cables 3-6 plug into MOTU analog audio out channels 1-4, respectively.<br />
#* On the Hemi side, the channels are (from left to right) 1-6.<br />
<br />
[[File:MOTU Ultralite mk3 panels.jpg|thumb|720px|none|The front (top) and back (bottom) panels for the MOTU Ultralite mk3.]]<br />
<br />
== Testing ==<br />
* Open up the laptop and sign in.<br />
* Your MOTU should be powered on as well; use the MOTU's master volume knob and set it to -20 dB.<br />
* In your laptop's system preferences, ensure that the sound output is the MOTU Ultralite.<br />
* Open up a terminal and type <code>hemi-test</code>. This will output a click in each channel successively, with ascending pitch. You should hear six distinct clicks over and over again.<br />
* Feel free to find us for troubleshooting, or consult the [[SLOrk/2016/FAQ|FAQs]].</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016&diff=18899SLOrk/20162016-03-31T23:13:07Z<p>Tsob: swap pic</p>
<hr />
<div>[[Image:SLOrk-Dink.jpg]]<br />
<br />
Welcome to this year's '''Music 128 / CS 170: Stanford Laptop Orchestra'''! This wiki is your portal to useful SLOrk-related info. See also the [[SLOrk/2016/FAQ|SLOrk FAQ]] and the [[SLOrk/2016/station_setup|station setup guide]]. Feel free to use our [http://piazza.com/stanford/spring2016/music128cs170 Piazza forum] for rapid communication with the class.<br />
<br />
== Regular Class Meetings ==<br />
Times: Wednesdays, 7:30 pm - 10:20 pm<br />
<br />
Room: CCRMA Stage (Knoll 315)<br />
<br />
== Directors ==<br />
* [https://ccrma.stanford.edu/~ge/ Ge Wang]<br />
* [https://ccrma.stanford.edu/~matt/ Matt Wright], co-director and guest instructor <br />
* [https://ccrma.stanford.edu/~tsob Tim O’Brien], co-director and TA<br />
<br />
== Course Description ==<br />
This course explores composing and coding for, and performance with, laptop orchestra. Topics and activities include issues of instrument design, sound synthesis, programming, composing for laptop orchestra, and live performance. Coursework includes designing laptop-mediated software musical instruments, crafting musical works, and live performance.<br />
<br />
To engage with these ideas most fully, students will write compositions and perform them live in two concerts during the spring quarter.<br />
<br />
== Musical Works ==<br />
Student output in this class will consist of at least 2 musical works (approximately one by the end of the 4th week, and the second by the end of the 8th week) – including instrument design, sound design, programming, and crafting musical presentation – to be first performed in a dress rehearsal in class and then at a public performance. The first musical work will be a piece of ‘chamber music’ (for a small number of players – between 2-4), and the second musical work will be a piece for the full ensemble.<br />
<br />
Pieces typically average 4-7 minutes. Group work is encouraged – multiple students may work on the same composition.<br />
<br />
== Grading ==<br />
The importance of timely attendance and active participation in this class cannot be overstated. As a performance ensemble, we are relying on each other to be present to perform and critique each other’s work. Therefore, by joining this class, you are committing to attending every class period, as well as the following rehearsals/concerts:<br />
<br />
* May 1st – noon-6pm – group rehearsal by piece (by appt)<br />
* May 1st – 6:00pm on – SLOrktastic Chamber Music (concert at 7:30pm)<br />
* June 1st – 4pm-10pm – dress rehearsal #1 in Bing Concert Hall<br />
* June 2nd – 12pm on – dress rehearsal #2 in Bing Concert Hall (final concert at 8:00pm)<br />
<br />
If you miss a concert or dress rehearsal for any reason other than an excusable emergency, it will result in the lowering of your grade by 2 letter grades. Missing a regular class period will lower it one letter grade; being late for a regular class period will lower it by 1/3 letter grade (e.g. A goes to A-).<br />
<br />
With your attendance grade as the baseline, grades will be modulated by participation. Each class you will receive a ✓ if you come prepared to participate, are attentive in class, and demonstrate progress on your work. If you come and do not participate, are inattentive, or are unprepared, you’ll receive a ✓-. Two ✓-’s will result in the lowering of a full letter grade. ✓+’s may be given out on occasion, and may result in the raising of your final grade.<br />
<br />
You must come to class 30 minutes early (i.e. at 7pm) for at least three (3) class sessions to help set up the equipment. This counts toward your participation grade. You can sign up at this page: [[SLOrk/2016/setup_signup]].<br />
<br />
== Readings ==<br />
The unofficial textbook of the course is Programming for Musicians and Digital Artists: Creating music with ChucK (ISBN: 1617291706). It provides many good examples of features in ChucK, and will be useful for quickly gaining fluency in the language.<br />
<br />
For ChucK beginners, we also recommend Introduction to Programming for Musicians and Digital Artists, an online course from kadenze.com. You can access course videos freely by signing up for a free account at kadenze.com, and then navigating to https://www.kadenze.com/courses/introduction-to-programming-for-musicians-and-digital-artists-iii <br />
<br />
Additionally, you will be engaged in topics such as the embodiment of sound in technology-mediated performance, meaningful instrument interaction between players, and indeed, the point of a laptop orchestra. As such, we’ve amalgamated a short reading list. The readings will be made available on Coursework the week they are assigned. Although we may not necessarily be discussing them directly in class, ideas will be drawn from them to frame activities and discussions in class. They will be good perspective for the course, and indeed, for your musical life.<br />
<br />
=== Laptop Orchestra ===<br />
* [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, D., (2007). “Why a laptop orchestra?” ''Organised Sound''. 12(2), 171-179.]<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood, S., Trueman, S., Cook, P.R., Wang, G., (2008). "Composing for laptop orchestra." ''Computer Music Journal''. 32(1), 9-25.]<br />
* [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink, R., Wang, G., Cook, P.R.. “Don't Forget the Laptop: Using Native Input Capabilities for Expressive Musical Control”. In ''Proceedings of New Interfaces for Musical Expression'', 2007.]<br />
<br />
=== Gesture in Performance ===<br />
* [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, A. (1999). “Bodily Hearing: Physiological Metaphors and Musical Understanding. ''Journal of Music Theory''. 43(1), 1-19.]<br />
* Godøy, R. I. "Gestural Affordances of Musical Sound," in Musical Gestures: Sound, Movement, and Meaning, ed. Rolf Inge Godøy and Marc Leman (Routledge, 2010). pp 103-125.<br />
<br />
=== Other ===<br />
* Cook, N. Inaugural Lecture at the University of Cambridge.<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320582945 Wessel, David, and Matthew Wright. "Problems and prospects for intimate musical control of computers." Computer Music Journal 26.3 (2002): 11-22.]<br />
* [http://www.nime.org/proceedings/2015/nime2015_329.pdf Wan Rosli et al. “Ensemble Feedback Networks,” in Proceedings of the International Conference on New Interfaces for Musical Expression, Baton Rouge, Louisiana, USA, 2015, pp. 144-149.]<br />
<br />
== Dress Code ==<br />
For concerts, the dress code will be concert black, colored socks optional.<br />
<br />
== Accommodations ==<br />
If you need accommodations for any physical, psychological, or learning disability, or if you want to inform me about a medical situation, please speak to me (Ge) outside of class.<br />
<br />
== Weekly Schedule (subject to change) ==<br />
<br />
=== Week 1: Introduction (March 30th) ===<br />
Syllabus discussion, introduction to the ideas of laptop orchestra, [[SLOrk/2016/station_setup|how to set up laptop orchestra gear]]. Learn pieces from the laptop orchestra repertoire, first ChucK instrument example.<br />
* Homework: Create a short solo musical work/statement for one station.<br />
* Reading: [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, 2007]; [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink ''et al.'', 2007].<br />
<br />
=== Week 2: (April 6th) ===<br />
Initial instrument design presentation and critique; each person to give a mini-performance of 1-2 minutes; presentation on physical interaction design.<br />
* Homework: Milestone 1.<br />
* Reading: [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, 1999].<br />
<br />
=== Week 3: (April 13th) ===<br />
SLOrktastic milestone #1: initial work in-progress of piece; 3 minute performance.<br />
* Homework: Milestone 2.<br />
* Reading: TBA<br />
<br />
=== Week 4: (April 20th) ===<br />
SLOrktastic milestone #2: complete composition/performance.<br />
* Homework: Polish your piece – the concert is next week!<br />
<br />
=== Week 5: (April 27th, May 1st) ===<br />
<br />
April 27th: Dress rehearsal of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
May 1st: Tech run-through during the day (by appt). 6:00pm call (dinner provided) for 7:30pm SLOrktastic Chamber Music Concert. Invite your friends!<br />
* Homework: Proposal / sketch for final musical work.<br />
* Reading: [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood et al., 2008].<br />
<br />
=== Week 6: (May 4th) ===<br />
Proposal & sketch for final composition/performance; strategies and tools; networking.<br />
* Homework: Final Milestone #1<br />
* Reading: Cook, N.<br />
<br />
=== Week 7: (May 11th) ===<br />
Final Milestone #1: initial full ensemble rehearsal for each piece in-progress<br />
* Homework: Final Milestone #2<br />
<br />
=== Week 8: (May 18th) ===<br />
Final Milestone #2: full ensemble rehearsal for complete piece in-progress, with score presentation as you see fit.<br />
* Homework: Polish your work!<br />
<br />
=== Week 9: (May 25th) ===<br />
<br />
Normal class period, last workshopping and rehearsal of pieces for the Bing concert. The pieces should be finished by this date; this rehearsal will be focused on ensemble coordination and performance.<br />
<br />
=== Week 10: (June 1st, June 2nd) ===<br />
<br />
June 1st:<br />
* 4pm-10pm Dress rehearsal #1 of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
June 2nd:<br />
* 12pm: Dress rehearsal #2 of pieces for the performance (schedule and order to be emailed by day previous)<br />
* 7:30pm: SLOrk @ Bing 2015 (Spring Concert)</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016&diff=18898SLOrk/20162016-03-31T23:08:34Z<p>Tsob: /* Week 5: (April 27th, May 1st) */ add reading link</p>
<hr />
<div>Welcome to this year's '''Music 128 / CS 170: Stanford Laptop Orchestra'''! This wiki is your portal to useful SLOrk-related info. See also the [[SLOrk/2016/FAQ|SLOrk FAQ]] and the [[SLOrk/2016/station_setup|station setup guide]]. Feel free to use our [http://piazza.com/stanford/spring2016/music128cs170 Piazza forum] for rapid communication with the class.<br />
<br />
[[File:SLOrk-lr-04s.jpg]]<br />
<br />
== Regular Class Meetings ==<br />
Times: Wednesdays, 7:30 pm - 10:20 pm<br />
<br />
Room: CCRMA Stage (Knoll 315)<br />
<br />
== Directors ==<br />
* [https://ccrma.stanford.edu/~ge/ Ge Wang]<br />
* [https://ccrma.stanford.edu/~matt/ Matt Wright], co-director and guest instructor <br />
* [https://ccrma.stanford.edu/~tsob Tim O’Brien], co-director and TA<br />
<br />
== Course Description ==<br />
This course explores composing and coding for, and performance with, laptop orchestra. Topics and activities include issues of instrument design, sound synthesis, programming, composing for laptop orchestra, and live performance. Coursework includes designing laptop-mediated software musical instruments, crafting musical works, and live performance.<br />
<br />
To engage with these ideas most fully, students will write compositions and perform them live in two concerts during the spring quarter.<br />
<br />
== Musical Works ==<br />
Student output in this class will consist of at least 2 musical works (approximately one by the end of the 4th week, and the second by the end of the 8th week) – including instrument design, sound design, programming, and crafting musical presentation – to be first performed in a dress rehearsal in class and then at a public performance. The first musical work will be a piece of ‘chamber music’ (for a small number of players – between 2-4), and the second musical work will be a piece for the full ensemble.<br />
<br />
Pieces typically average 4-7 minutes. Group work is encouraged – multiple students may work on the same composition.<br />
<br />
== Grading ==<br />
The importance of timely attendance and active participation in this class cannot be overstated. As a performance ensemble, we are relying on each other to be present to perform and critique each other’s work. Therefore, by joining this class, you are committing to attending every class period, as well as the following rehearsals/concerts:<br />
<br />
* May 1st – noon-6pm – group rehearsal by piece (by appt)<br />
* May 1st – 6:00pm on – SLOrktastic Chamber Music (concert at 7:30pm)<br />
* June 1st – 4pm-10pm – dress rehearsal #1 in Bing Concert Hall<br />
* June 2nd – 12pm on – dress rehearsal #2 in Bing Concert Hall (final concert at 8:00pm)<br />
<br />
If you miss a concert or dress rehearsal for any reason other than an excusable emergency, it will result in the lowering of your grade by 2 letter grades. Missing a regular class period will lower it one letter grade; being late for a regular class period will lower it by 1/3 letter grade (e.g. A goes to A-).<br />
<br />
With your attendance grade as the baseline, grades will be modulated by participation. Each class you will receive a ✓ if you come prepared to participate, are attentive in class, and demonstrate progress on your work. If you come and do not participate, are inattentive, or are unprepared, you’ll receive a ✓-. Two ✓-’s will result in the lowering of a full letter grade. ✓+’s may be given out on occasion, and may result in the raising of your final grade.<br />
<br />
You must come to class 30 minutes early (i.e. at 7pm) for at least three (3) class sessions to help set up the equipment. This counts toward your participation grade. You can sign up at this page: [[SLOrk/2016/setup_signup]].<br />
<br />
== Readings ==<br />
The unofficial textbook of the course is Programming for Musicians and Digital Artists: Creating music with ChucK (ISBN: 1617291706). It provides many good examples of features in ChucK, and will be useful for quickly gaining fluency in the language.<br />
<br />
For ChucK beginners, we also recommend Introduction to Programming for Musicians and Digital Artists, an online course from kadenze.com. You can access course videos freely by signing up for a free account at kadenze.com, and then navigating to https://www.kadenze.com/courses/introduction-to-programming-for-musicians-and-digital-artists-iii <br />
<br />
Additionally, you will be engaged in topics such as the embodiment of sound in technology-mediated performance, meaningful instrument interaction between players, and indeed, the point of a laptop orchestra. As such, we’ve amalgamated a short reading list. The readings will be made available on Coursework the week they are assigned. Although we may not necessarily be discussing them directly in class, ideas will be drawn from them to frame activities and discussions in class. They will be good perspective for the course, and indeed, for your musical life.<br />
<br />
=== Laptop Orchestra ===<br />
* [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, D., (2007). “Why a laptop orchestra?” ''Organised Sound''. 12(2), 171-179.]<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood, S., Trueman, S., Cook, P.R., Wang, G., (2008). "Composing for laptop orchestra." ''Computer Music Journal''. 32(1), 9-25.]<br />
* [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink, R., Wang, G., Cook, P.R.. “Don't Forget the Laptop: Using Native Input Capabilities for Expressive Musical Control”. In ''Proceedings of New Interfaces for Musical Expression'', 2007.]<br />
<br />
=== Gesture in Performance ===<br />
* [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, A. (1999). “Bodily Hearing: Physiological Metaphors and Musical Understanding. ''Journal of Music Theory''. 43(1), 1-19.]<br />
* Godøy, R. I. "Gestural Affordances of Musical Sound," in Musical Gestures: Sound, Movement, and Meaning, ed. Rolf Inge Godøy and Marc Leman (Routledge, 2010). pp 103-125.<br />
<br />
=== Other ===<br />
* Cook, N. Inaugural Lecture at the University of Cambridge.<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320582945 Wessel, David, and Matthew Wright. "Problems and prospects for intimate musical control of computers." Computer Music Journal 26.3 (2002): 11-22.]<br />
* [http://www.nime.org/proceedings/2015/nime2015_329.pdf Wan Rosli et al. “Ensemble Feedback Networks,” in Proceedings of the International Conference on New Interfaces for Musical Expression, Baton Rouge, Louisiana, USA, 2015, pp. 144-149.]<br />
<br />
== Dress Code ==<br />
For concerts, the dress code will be concert black, colored socks optional.<br />
<br />
== Accommodations ==<br />
If you need accommodations for any physical, psychological, or learning disability, or if you want to inform me about a medical situation, please speak to me (Ge) outside of class.<br />
<br />
== Weekly Schedule (subject to change) ==<br />
<br />
=== Week 1: Introduction (March 30th) ===<br />
Syllabus discussion, introduction to the ideas of laptop orchestra, [[SLOrk/2016/station_setup|how to set up laptop orchestra gear]]. Learn pieces from the laptop orchestra repertoire, first ChucK instrument example.<br />
* Homework: Create a short solo musical work/statement for one station.<br />
* Reading: [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, 2007]; [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink ''et al.'', 2007].<br />
<br />
=== Week 2: (April 6th) ===<br />
Initial instrument design presentation and critique; each person to give a mini-performance of 1-2 minutes; presentation on physical interaction design.<br />
* Homework: Milestone 1.<br />
* Reading: [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, 1999].<br />
<br />
=== Week 3: (April 13th) ===<br />
SLOrktastic milestone #1: initial work in-progress of piece; 3 minute performance.<br />
* Homework: Milestone 2.<br />
* Reading: TBA<br />
<br />
=== Week 4: (April 20th) ===<br />
SLOrktastic milestone #2: complete composition/performance.<br />
* Homework: Polish your piece – the concert is next week!<br />
<br />
=== Week 5: (April 27th, May 1st) ===<br />
<br />
April 27th: Dress rehearsal of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
May 1st: Tech run-through during the day (by appt). 6:00pm call (dinner provided) for 7:30pm SLOrktastic Chamber Music Concert. Invite your friends!<br />
* Homework: Proposal / sketch for final musical work.<br />
* Reading: [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood et al., 2008].<br />
<br />
=== Week 6: (May 4th) ===<br />
Proposal & sketch for final composition/performance; strategies and tools; networking.<br />
* Homework: Final Milestone #1<br />
* Reading: Cook, N.<br />
<br />
=== Week 7: (May 11th) ===<br />
Final Milestone #1: initial full ensemble rehearsal for each piece in-progress<br />
* Homework: Final Milestone #2<br />
<br />
=== Week 8: (May 18th) ===<br />
Final Milestone #2: full ensemble rehearsal for complete piece in-progress, with score presentation as you see fit.<br />
* Homework: Polish your work!<br />
<br />
=== Week 9: (May 25th) ===<br />
<br />
Normal class period, last workshopping and rehearsal of pieces for the Bing concert. The pieces should be finished by this date; this rehearsal will be focused on ensemble coordination and performance.<br />
<br />
=== Week 10: (June 1st, June 2nd) ===<br />
<br />
June 1st:<br />
* 4pm-10pm Dress rehearsal #1 of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
June 2nd:<br />
* 12pm: Dress rehearsal #2 of pieces for the performance (schedule and order to be emailed by day previous)<br />
* 7:30pm: SLOrk @ Bing 2015 (Spring Concert)</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016/station_setup&diff=18897SLOrk/2016/station setup2016-03-31T23:07:03Z<p>Tsob: formatting pic float</p>
<hr />
<div>This page details how to set up a SLOrk station.<br />
<br />
== Ingredients ==<br />
* 1 large rectangular SLOrk pillow.<br />
* 1 small circular SLOrk pillow.<br />
* 1 small IKEA table.<br />
* 1 MOTU, preferably the MOTU Ultralite mk3<br />
* 1 firewire cable (for connecting MOTU to laptop)<br />
* 1 Hemi speaker<br />
* 1 power adapter (for Hemi speaker)<br />
* 1 SLOrk Laptop (''aka'' a SLOrktop)<br />
* 1 laptop power adaptor<br />
* 1 blue cable snake (6-channels, for connecting MOTU to SLOrktop)<br />
<br />
== Assembly ==<br />
# Place the large rectangular pillow on the floor where you'll sit.<br />
# Place the circular pillow on top of the rectangular pillow. This is where you'll be sitting.<br />
# Place the small IKEA table directly in front of your pillows.<br />
# Place the SLOrk laptop on top of the IKEA table.<br />
# Place the MOTU directly underneath the IKEA table.<br />
# Place the Hemi speaker next to the IKEA table.<br />
# Plug in the laptop power.<br />
# Plug in the Hemi speaker power.<br />
# Use the Firewire cable to connect the MOTU to the laptop. (Note: when using the Firewire cable, we don't need a separate cable to power the MOTU.)<br />
# Use the cable snake to connect the MOTU to the Hemi.<br />
#* The cables are numbered on each end.<br />
#* The jacks are fatter on one end than the other. IMPORTANT: you'll plug the fatter side into the Hemi, since they won't fit side-by-side into the MOTU.<br />
#* Cables 1 and 2 plug into the MOTU main (left, right) outs. Cables 3-6 plug into MOTU analog audio out channels 1-4, respectively.<br />
#* On the Hemi side, the channels are (from left to right) 1-6.<br />
<br />
[[File:MOTU Ultralite mk3 panels.jpg|thumb|720px|none|The front (top) and back (bottom) panels for the MOTU Ultralite mk3.]]<br />
<br />
== Testing ==<br />
* Open up the laptop and sign in.<br />
* Your MOTU should be powered on as well; use the MOTU's master volume knob and set it to -20 dB.<br />
* In your laptop's system preferences, ensure that the sound output is the MOTU Ultralite.<br />
* Open up a terminal and type <code>hemi-test</code>. This will output a click in each channel successively, with ascending pitch. You should hear six distinct clicks over and over again.<br />
* Feel free to find us for troubleshooting, or consult the [[SLOrk/2016/FAQ|FAQs]].</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016/station_setup&diff=18896SLOrk/2016/station setup2016-03-31T22:58:27Z<p>Tsob: /* Assembly */ add picture of MOTU Ultralite mk3 panels</p>
<hr />
<div>This page details how to set up a SLOrk station.<br />
<br />
== Ingredients ==<br />
* 1 large rectangular SLOrk pillow.<br />
* 1 small circular SLOrk pillow.<br />
* 1 small IKEA table.<br />
* 1 MOTU, preferably the MOTU Ultralite mk3<br />
* 1 firewire cable (for connecting MOTU to laptop)<br />
* 1 Hemi speaker<br />
* 1 power adapter (for Hemi speaker)<br />
* 1 SLOrk Laptop (''aka'' a SLOrktop)<br />
* 1 laptop power adaptor<br />
* 1 blue cable snake (6-channels, for connecting MOTU to SLOrktop)<br />
<br />
== Assembly ==<br />
# Place the large rectangular pillow on the floor where you'll sit.<br />
# Place the circular pillow on top of the rectangular pillow. This is where you'll be sitting.<br />
# Place the small IKEA table directly in front of your pillows.<br />
# Place the SLOrk laptop on top of the IKEA table.<br />
# Place the MOTU directly underneath the IKEA table.<br />
# Place the Hemi speaker next to the IKEA table.<br />
# Plug in the laptop power.<br />
# Plug in the Hemi speaker power.<br />
# Use the Firewire cable to connect the MOTU to the laptop. (Note: when using the Firewire cable, we don't need a separate cable to power the MOTU.)<br />
# Use the cable snake to connect the MOTU to the Hemi.<br />
#* The cables are numbered on each end.<br />
#* The jacks are fatter on one end than the other. IMPORTANT: you'll plug the fatter side into the Hemi, since they won't fit side-by-side into the MOTU.<br />
#* Cables 1 and 2 plug into the MOTU main (left, right) outs. Cables 3-6 plug into MOTU analog audio out channels 1-4, respectively.<br />
#* On the Hemi side, the channels are (from left to right) 1-6.<br />
<br />
[[File:MOTU Ultralite mk3 panels.jpg|thumb|720px|left|The front (top) and back (bottom) panels for the MOTU Ultralite mk3.]]<br />
<br />
== Testing ==<br />
* Open up the laptop and sign in.<br />
* Your MOTU should be powered on as well; use the MOTU's master volume knob and set it to -20 dB.<br />
* In your laptop's system preferences, ensure that the sound output is the MOTU Ultralite.<br />
* Open up a terminal and type <code>hemi-test</code>. This will output a click in each channel successively, with ascending pitch. You should hear six distinct clicks over and over again.<br />
* Feel free to find us for troubleshooting, or consult the [[SLOrk/2016/FAQ|FAQs]].</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=File:MOTU_Ultralite_mk3_panels.jpg&diff=18895File:MOTU Ultralite mk3 panels.jpg2016-03-31T22:51:23Z<p>Tsob: </p>
<hr />
<div></div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016&diff=18881SLOrk/20162016-03-31T00:34:02Z<p>Tsob: + piazza</p>
<hr />
<div>Welcome to this year's '''Music 128 / CS 170: Stanford Laptop Orchestra'''! This wiki is your portal to useful SLOrk-related info. See also the [[SLOrk/2016/FAQ|SLOrk FAQ]] and the [[SLOrk/2016/station_setup|station setup guide]]. Feel free to use our [http://piazza.com/stanford/spring2016/music128cs170 Piazza forum] for rapid communication with the class.<br />
<br />
[[File:SLOrk-lr-04s.jpg]]<br />
<br />
== Regular Class Meetings ==<br />
Times: Wednesdays, 7:30 pm - 10:20 pm<br />
<br />
Room: CCRMA Stage (Knoll 315)<br />
<br />
== Directors ==<br />
* [https://ccrma.stanford.edu/~ge/ Ge Wang]<br />
* [https://ccrma.stanford.edu/~matt/ Matt Wright], co-director and guest instructor <br />
* [https://ccrma.stanford.edu/~tsob Tim O’Brien], co-director and TA<br />
<br />
== Course Description ==<br />
This course explores composing and coding for, and performance with, laptop orchestra. Topics and activities include issues of instrument design, sound synthesis, programming, composing for laptop orchestra, and live performance. Coursework includes designing laptop-mediated software musical instruments, crafting musical works, and live performance.<br />
<br />
To engage with these ideas most fully, students will write compositions and perform them live in two concerts during the spring quarter.<br />
<br />
== Musical Works ==<br />
Student output in this class will consist of at least 2 musical works (approximately one by the end of the 4th week, and the second by the end of the 8th week) – including instrument design, sound design, programming, and crafting musical presentation – to be first performed in a dress rehearsal in class and then at a public performance. The first musical work will be a piece of ‘chamber music’ (for a small number of players – between 2-4), and the second musical work will be a piece for the full ensemble.<br />
<br />
Pieces typically average 4-7 minutes. Group work is encouraged – multiple students may work on the same composition.<br />
<br />
== Grading ==<br />
The importance of timely attendance and active participation in this class cannot be overstated. As a performance ensemble, we are relying on each other to be present to perform and critique each other’s work. Therefore, by joining this class, you are committing to attending every class period, as well as the following rehearsals/concerts:<br />
<br />
* May 1st – noon-6pm – group rehearsal by piece (by appt)<br />
* May 1st – 6:00pm on – SLOrktastic Chamber Music (concert at 7:30pm)<br />
* June 1st – 4pm-10pm – dress rehearsal #1 in Bing Concert Hall<br />
* June 2nd – 12pm on – dress rehearsal #2 in Bing Concert Hall (final concert at 8:00pm)<br />
<br />
If you miss a concert or dress rehearsal for any reason other than an excusable emergency, it will result in the lowering of your grade by 2 letter grades. Missing a regular class period will lower it one letter grade; being late for a regular class period will lower it by 1/3 letter grade (e.g. A goes to A-).<br />
<br />
With your attendance grade as the baseline, grades will be modulated by participation. Each class you will receive a ✓ if you come prepared to participate, are attentive in class, and demonstrate progress on your work. If you come and do not participate, are inattentive, or are unprepared, you’ll receive a ✓-. Two ✓-’s will result in the lowering of a full letter grade. ✓+’s may be given out on occasion, and may result in the raising of your final grade.<br />
<br />
You must come to class 30 minutes early (i.e. at 7pm) for at least three (3) class sessions to help set up the equipment. This counts toward your participation grade. You can sign up at this page: [[SLOrk/2016/setup_signup]].<br />
<br />
== Readings ==<br />
The unofficial textbook of the course is Programming for Musicians and Digital Artists: Creating music with ChucK (ISBN: 1617291706). It provides many good examples of features in ChucK, and will be useful for quickly gaining fluency in the language.<br />
<br />
For ChucK beginners, we also recommend Introduction to Programming for Musicians and Digital Artists, an online course from kadenze.com. You can access course videos freely by signing up for a free account at kadenze.com, and then navigating to https://www.kadenze.com/courses/introduction-to-programming-for-musicians-and-digital-artists-iii <br />
<br />
Additionally, you will be engaged in topics such as the embodiment of sound in technology-mediated performance, meaningful instrument interaction between players, and indeed, the point of a laptop orchestra. As such, we’ve amalgamated a short reading list. The readings will be made available on Coursework the week they are assigned. Although we may not necessarily be discussing them directly in class, ideas will be drawn from them to frame activities and discussions in class. They will be good perspective for the course, and indeed, for your musical life.<br />
<br />
=== Laptop Orchestra ===<br />
* [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, D., (2007). “Why a laptop orchestra?” ''Organised Sound''. 12(2), 171-179.]<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood, S., Trueman, S., Cook, P.R., Wang, G., (2008). "Composing for laptop orchestra." ''Computer Music Journal''. 32(1), 9-25.]<br />
* [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink, R., Wang, G., Cook, P.R.. “Don't Forget the Laptop: Using Native Input Capabilities for Expressive Musical Control”. In ''Proceedings of New Interfaces for Musical Expression'', 2007.]<br />
<br />
=== Gesture in Performance ===<br />
* [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, A. (1999). “Bodily Hearing: Physiological Metaphors and Musical Understanding. ''Journal of Music Theory''. 43(1), 1-19.]<br />
* Godøy, R. I. "Gestural Affordances of Musical Sound," in Musical Gestures: Sound, Movement, and Meaning, ed. Rolf Inge Godøy and Marc Leman (Routledge, 2010). pp 103-125.<br />
<br />
=== Other ===<br />
* Cook, N. Inaugural Lecture at the University of Cambridge.<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320582945 Wessel, David, and Matthew Wright. "Problems and prospects for intimate musical control of computers." Computer Music Journal 26.3 (2002): 11-22.]<br />
* [http://www.nime.org/proceedings/2015/nime2015_329.pdf Wan Rosli et al. “Ensemble Feedback Networks,” in Proceedings of the International Conference on New Interfaces for Musical Expression, Baton Rouge, Louisiana, USA, 2015, pp. 144-149.]<br />
<br />
== Dress Code ==<br />
For concerts, the dress code will be concert black, colored socks optional.<br />
<br />
== Accommodations ==<br />
If you need accommodations for any physical, psychological, or learning disability, or if you want to inform me about a medical situation, please speak to me (Ge) outside of class.<br />
<br />
== Weekly Schedule (subject to change) ==<br />
<br />
=== Week 1: Introduction (March 30th) ===<br />
Syllabus discussion, introduction to the ideas of laptop orchestra, [[SLOrk/2016/station_setup|how to set up laptop orchestra gear]]. Learn pieces from the laptop orchestra repertoire, first ChucK instrument example.<br />
* Homework: Create a short solo musical work/statement for one station.<br />
* Reading: [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, 2007]; [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink ''et al.'', 2007].<br />
<br />
=== Week 2: (April 6th) ===<br />
Initial instrument design presentation and critique; each person to give a mini-performance of 1-2 minutes; presentation on physical interaction design.<br />
* Homework: Milestone 1.<br />
* Reading: [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, 1999].<br />
<br />
=== Week 3: (April 13th) ===<br />
SLOrktastic milestone #1: initial work in-progress of piece; 3 minute performance.<br />
* Homework: Milestone 2.<br />
* Reading: TBA<br />
<br />
=== Week 4: (April 20th) ===<br />
SLOrktastic milestone #2: complete composition/performance.<br />
* Homework: Polish your piece – the concert is next week!<br />
<br />
=== Week 5: (April 27th, May 1st) ===<br />
<br />
April 27th: Dress rehearsal of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
May 1st: Tech run-through during the day (by appt). 6:00pm call (dinner provided) for 7:30pm SLOrktastic Chamber Music Concert. Invite your friends!<br />
* Homework: Proposal / sketch for final musical work.<br />
* Reading: Smallwood et al., 2008.<br />
<br />
=== Week 6: (May 4th) ===<br />
Proposal & sketch for final composition/performance; strategies and tools; networking.<br />
* Homework: Final Milestone #1<br />
* Reading: Cook, N.<br />
<br />
=== Week 7: (May 11th) ===<br />
Final Milestone #1: initial full ensemble rehearsal for each piece in-progress<br />
* Homework: Final Milestone #2<br />
<br />
=== Week 8: (May 18th) ===<br />
Final Milestone #2: full ensemble rehearsal for complete piece in-progress, with score presentation as you see fit.<br />
* Homework: Polish your work!<br />
<br />
=== Week 9: (May 25th) ===<br />
<br />
Normal class period, last workshopping and rehearsal of pieces for the Bing concert. The pieces should be finished by this date; this rehearsal will be focused on ensemble coordination and performance.<br />
<br />
=== Week 10: (June 1st, June 2nd) ===<br />
<br />
June 1st:<br />
* 4pm-10pm Dress rehearsal #1 of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
June 2nd:<br />
* 12pm: Dress rehearsal #2 of pieces for the performance (schedule and order to be emailed by day previous)<br />
* 7:30pm: SLOrk @ Bing 2015 (Spring Concert)</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016&diff=18880SLOrk/20162016-03-31T00:21:21Z<p>Tsob: /* Week 2: (April 6th) */</p>
<hr />
<div>Welcome to this year's '''Music 128 / CS 170: Stanford Laptop Orchestra'''! This wiki is your portal to useful SLOrk-related info. See also the [[SLOrk/2016/FAQ|SLOrk FAQ]] and the [[SLOrk/2016/station_setup|station setup guide]].<br />
<br />
[[File:SLOrk-lr-04s.jpg]]<br />
<br />
== Regular Class Meetings ==<br />
Times: Wednesdays, 7:30 pm - 10:20 pm<br />
<br />
Room: CCRMA Stage (Knoll 315)<br />
<br />
== Directors ==<br />
* [https://ccrma.stanford.edu/~ge/ Ge Wang]<br />
* [https://ccrma.stanford.edu/~matt/ Matt Wright], co-director and guest instructor <br />
* [https://ccrma.stanford.edu/~tsob Tim O’Brien], co-director and TA<br />
<br />
== Course Description ==<br />
This course explores composing and coding for, and performance with, laptop orchestra. Topics and activities include issues of instrument design, sound synthesis, programming, composing for laptop orchestra, and live performance. Coursework includes designing laptop-mediated software musical instruments, crafting musical works, and live performance.<br />
<br />
To engage with these ideas most fully, students will write compositions and perform them live in two concerts during the spring quarter.<br />
<br />
== Musical Works ==<br />
Student output in this class will consist of at least 2 musical works (approximately one by the end of the 4th week, and the second by the end of the 8th week) – including instrument design, sound design, programming, and crafting musical presentation – to be first performed in a dress rehearsal in class and then at a public performance. The first musical work will be a piece of ‘chamber music’ (for a small number of players – between 2-4), and the second musical work will be a piece for the full ensemble.<br />
<br />
Pieces typically average 4-7 minutes. Group work is encouraged – multiple students may work on the same composition.<br />
<br />
== Grading ==<br />
The importance of timely attendance and active participation in this class cannot be overstated. As a performance ensemble, we are relying on each other to be present to perform and critique each other’s work. Therefore, by joining this class, you are committing to attending every class period, as well as the following rehearsals/concerts:<br />
<br />
* May 1st – noon-6pm – group rehearsal by piece (by appt)<br />
* May 1st – 6:00pm on – SLOrktastic Chamber Music (concert at 7:30pm)<br />
* June 1st – 4pm-10pm – dress rehearsal #1 in Bing Concert Hall<br />
* June 2nd – 12pm on – dress rehearsal #2 in Bing Concert Hall (final concert at 8:00pm)<br />
<br />
If you miss a concert or dress rehearsal for any reason other than an excusable emergency, it will result in the lowering of your grade by 2 letter grades. Missing a regular class period will lower it one letter grade; being late for a regular class period will lower it by 1/3 letter grade (e.g. A goes to A-).<br />
<br />
With your attendance grade as the baseline, grades will be modulated by participation. Each class you will receive a ✓ if you come prepared to participate, are attentive in class, and demonstrate progress on your work. If you come and do not participate, are inattentive, or are unprepared, you’ll receive a ✓-. Two ✓-’s will result in the lowering of a full letter grade. ✓+’s may be given out on occasion, and may result in the raising of your final grade.<br />
<br />
You must come to class 30 minutes early (i.e. at 7pm) for at least three (3) class sessions to help set up the equipment. This counts toward your participation grade. You can sign up at this page: [[SLOrk/2016/setup_signup]].<br />
<br />
== Readings ==<br />
The unofficial textbook of the course is Programming for Musicians and Digital Artists: Creating music with ChucK (ISBN: 1617291706). It provides many good examples of features in ChucK, and will be useful for quickly gaining fluency in the language.<br />
<br />
For ChucK beginners, we also recommend Introduction to Programming for Musicians and Digital Artists, an online course from kadenze.com. You can access course videos freely by signing up for a free account at kadenze.com, and then navigating to https://www.kadenze.com/courses/introduction-to-programming-for-musicians-and-digital-artists-iii <br />
<br />
Additionally, you will be engaged in topics such as the embodiment of sound in technology-mediated performance, meaningful instrument interaction between players, and indeed, the point of a laptop orchestra. As such, we’ve amalgamated a short reading list. The readings will be made available on Coursework the week they are assigned. Although we may not necessarily be discussing them directly in class, ideas will be drawn from them to frame activities and discussions in class. They will be good perspective for the course, and indeed, for your musical life.<br />
<br />
=== Laptop Orchestra ===<br />
* [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, D., (2007). “Why a laptop orchestra?” ''Organised Sound''. 12(2), 171-179.]<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood, S., Trueman, S., Cook, P.R., Wang, G., (2008). "Composing for laptop orchestra." ''Computer Music Journal''. 32(1), 9-25.]<br />
* [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink, R., Wang, G., Cook, P.R.. “Don't Forget the Laptop: Using Native Input Capabilities for Expressive Musical Control”. In ''Proceedings of New Interfaces for Musical Expression'', 2007.]<br />
<br />
=== Gesture in Performance ===<br />
* [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, A. (1999). “Bodily Hearing: Physiological Metaphors and Musical Understanding. ''Journal of Music Theory''. 43(1), 1-19.]<br />
* Godøy, R. I. "Gestural Affordances of Musical Sound," in Musical Gestures: Sound, Movement, and Meaning, ed. Rolf Inge Godøy and Marc Leman (Routledge, 2010). pp 103-125.<br />
<br />
=== Other ===<br />
* Cook, N. Inaugural Lecture at the University of Cambridge.<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320582945 Wessel, David, and Matthew Wright. "Problems and prospects for intimate musical control of computers." Computer Music Journal 26.3 (2002): 11-22.]<br />
* [http://www.nime.org/proceedings/2015/nime2015_329.pdf Wan Rosli et al. “Ensemble Feedback Networks,” in Proceedings of the International Conference on New Interfaces for Musical Expression, Baton Rouge, Louisiana, USA, 2015, pp. 144-149.]<br />
<br />
== Dress Code ==<br />
For concerts, the dress code will be concert black, colored socks optional.<br />
<br />
== Accommodations ==<br />
If you need accommodations for any physical, psychological, or learning disability, or if you want to inform me about a medical situation, please speak to me (Ge) outside of class.<br />
<br />
== Weekly Schedule (subject to change) ==<br />
<br />
=== Week 1: Introduction (March 30th) ===<br />
Syllabus discussion, introduction to the ideas of laptop orchestra, [[SLOrk/2016/station_setup|how to set up laptop orchestra gear]]. Learn pieces from the laptop orchestra repertoire, first ChucK instrument example.<br />
* Homework: Create a short solo musical work/statement for one station.<br />
* Reading: [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, 2007]; [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink ''et al.'', 2007].<br />
<br />
=== Week 2: (April 6th) ===<br />
Initial instrument design presentation and critique; each person to give a mini-performance of 1-2 minutes; presentation on physical interaction design.<br />
* Homework: Milestone 1.<br />
* Reading: [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, 1999].<br />
<br />
=== Week 3: (April 13th) ===<br />
SLOrktastic milestone #1: initial work in-progress of piece; 3 minute performance.<br />
* Homework: Milestone 2.<br />
* Reading: TBA<br />
<br />
=== Week 4: (April 20th) ===<br />
SLOrktastic milestone #2: complete composition/performance.<br />
* Homework: Polish your piece – the concert is next week!<br />
<br />
=== Week 5: (April 27th, May 1st) ===<br />
<br />
April 27th: Dress rehearsal of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
May 1st: Tech run-through during the day (by appt). 6:00pm call (dinner provided) for 7:30pm SLOrktastic Chamber Music Concert. Invite your friends!<br />
* Homework: Proposal / sketch for final musical work.<br />
* Reading: Smallwood et al., 2008.<br />
<br />
=== Week 6: (May 4th) ===<br />
Proposal & sketch for final composition/performance; strategies and tools; networking.<br />
* Homework: Final Milestone #1<br />
* Reading: Cook, N.<br />
<br />
=== Week 7: (May 11th) ===<br />
Final Milestone #1: initial full ensemble rehearsal for each piece in-progress<br />
* Homework: Final Milestone #2<br />
<br />
=== Week 8: (May 18th) ===<br />
Final Milestone #2: full ensemble rehearsal for complete piece in-progress, with score presentation as you see fit.<br />
* Homework: Polish your work!<br />
<br />
=== Week 9: (May 25th) ===<br />
<br />
Normal class period, last workshopping and rehearsal of pieces for the Bing concert. The pieces should be finished by this date; this rehearsal will be focused on ensemble coordination and performance.<br />
<br />
=== Week 10: (June 1st, June 2nd) ===<br />
<br />
June 1st:<br />
* 4pm-10pm Dress rehearsal #1 of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
June 2nd:<br />
* 12pm: Dress rehearsal #2 of pieces for the performance (schedule and order to be emailed by day previous)<br />
* 7:30pm: SLOrk @ Bing 2015 (Spring Concert)</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016&diff=18879SLOrk/20162016-03-31T00:00:44Z<p>Tsob: /* Week 1: Introduction (March 30th) */ add slork station setup link</p>
<hr />
<div>Welcome to this year's '''Music 128 / CS 170: Stanford Laptop Orchestra'''! This wiki is your portal to useful SLOrk-related info. See also the [[SLOrk/2016/FAQ|SLOrk FAQ]] and the [[SLOrk/2016/station_setup|station setup guide]].<br />
<br />
[[File:SLOrk-lr-04s.jpg]]<br />
<br />
== Regular Class Meetings ==<br />
Times: Wednesdays, 7:30 pm - 10:20 pm<br />
<br />
Room: CCRMA Stage (Knoll 315)<br />
<br />
== Directors ==<br />
* [https://ccrma.stanford.edu/~ge/ Ge Wang]<br />
* [https://ccrma.stanford.edu/~matt/ Matt Wright], co-director and guest instructor <br />
* [https://ccrma.stanford.edu/~tsob Tim O’Brien], co-director and TA<br />
<br />
== Course Description ==<br />
This course explores composing and coding for, and performance with, laptop orchestra. Topics and activities include issues of instrument design, sound synthesis, programming, composing for laptop orchestra, and live performance. Coursework includes designing laptop-mediated software musical instruments, crafting musical works, and live performance.<br />
<br />
To engage with these ideas most fully, students will write compositions and perform them live in two concerts during the spring quarter.<br />
<br />
== Musical Works ==<br />
Student output in this class will consist of at least 2 musical works (approximately one by the end of the 4th week, and the second by the end of the 8th week) – including instrument design, sound design, programming, and crafting musical presentation – to be first performed in a dress rehearsal in class and then at a public performance. The first musical work will be a piece of ‘chamber music’ (for a small number of players – between 2-4), and the second musical work will be a piece for the full ensemble.<br />
<br />
Pieces typically average 4-7 minutes. Group work is encouraged – multiple students may work on the same composition.<br />
<br />
== Grading ==<br />
The importance of timely attendance and active participation in this class cannot be overstated. As a performance ensemble, we are relying on each other to be present to perform and critique each other’s work. Therefore, by joining this class, you are committing to attending every class period, as well as the following rehearsals/concerts:<br />
<br />
* May 1st – noon-6pm – group rehearsal by piece (by appt)<br />
* May 1st – 6:00pm on – SLOrktastic Chamber Music (concert at 7:30pm)<br />
* June 1st – 4pm-10pm – dress rehearsal #1 in Bing Concert Hall<br />
* June 2nd – 12pm on – dress rehearsal #2 in Bing Concert Hall (final concert at 8:00pm)<br />
<br />
If you miss a concert or dress rehearsal for any reason other than an excusable emergency, it will result in the lowering of your grade by 2 letter grades. Missing a regular class period will lower it one letter grade; being late for a regular class period will lower it by 1/3 letter grade (e.g. A goes to A-).<br />
<br />
With your attendance grade as the baseline, grades will be modulated by participation. Each class you will receive a ✓ if you come prepared to participate, are attentive in class, and demonstrate progress on your work. If you come and do not participate, are inattentive, or are unprepared, you’ll receive a ✓-. Two ✓-’s will result in the lowering of a full letter grade. ✓+’s may be given out on occasion, and may result in the raising of your final grade.<br />
<br />
You must come to class 30 minutes early (i.e. at 7pm) for at least three (3) class sessions to help set up the equipment. This counts toward your participation grade. You can sign up at this page: [[SLOrk/2016/setup_signup]].<br />
<br />
== Readings ==<br />
The unofficial textbook of the course is Programming for Musicians and Digital Artists: Creating music with ChucK (ISBN: 1617291706). It provides many good examples of features in ChucK, and will be useful for quickly gaining fluency in the language.<br />
<br />
For ChucK beginners, we also recommend Introduction to Programming for Musicians and Digital Artists, an online course from kadenze.com. You can access course videos freely by signing up for a free account at kadenze.com, and then navigating to https://www.kadenze.com/courses/introduction-to-programming-for-musicians-and-digital-artists-iii <br />
<br />
Additionally, you will be engaged in topics such as the embodiment of sound in technology-mediated performance, meaningful instrument interaction between players, and indeed, the point of a laptop orchestra. As such, we’ve amalgamated a short reading list. The readings will be made available on Coursework the week they are assigned. Although we may not necessarily be discussing them directly in class, ideas will be drawn from them to frame activities and discussions in class. They will be good perspective for the course, and indeed, for your musical life.<br />
<br />
=== Laptop Orchestra ===<br />
* [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, D., (2007). “Why a laptop orchestra?” ''Organised Sound''. 12(2), 171-179.]<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood, S., Trueman, S., Cook, P.R., Wang, G., (2008). "Composing for laptop orchestra." ''Computer Music Journal''. 32(1), 9-25.]<br />
* [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink, R., Wang, G., Cook, P.R.. “Don't Forget the Laptop: Using Native Input Capabilities for Expressive Musical Control”. In ''Proceedings of New Interfaces for Musical Expression'', 2007.]<br />
<br />
=== Gesture in Performance ===<br />
* [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, A. (1999). “Bodily Hearing: Physiological Metaphors and Musical Understanding. ''Journal of Music Theory''. 43(1), 1-19.]<br />
* Godøy, R. I. "Gestural Affordances of Musical Sound," in Musical Gestures: Sound, Movement, and Meaning, ed. Rolf Inge Godøy and Marc Leman (Routledge, 2010). pp 103-125.<br />
<br />
=== Other ===<br />
* Cook, N. Inaugural Lecture at the University of Cambridge.<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320582945 Wessel, David, and Matthew Wright. "Problems and prospects for intimate musical control of computers." Computer Music Journal 26.3 (2002): 11-22.]<br />
* [http://www.nime.org/proceedings/2015/nime2015_329.pdf Wan Rosli et al. “Ensemble Feedback Networks,” in Proceedings of the International Conference on New Interfaces for Musical Expression, Baton Rouge, Louisiana, USA, 2015, pp. 144-149.]<br />
<br />
== Dress Code ==<br />
For concerts, the dress code will be concert black, colored socks optional.<br />
<br />
== Accommodations ==<br />
If you need accommodations for any physical, psychological, or learning disability, or if you want to inform me about a medical situation, please speak to me (Ge) outside of class.<br />
<br />
== Weekly Schedule (subject to change) ==<br />
<br />
=== Week 1: Introduction (March 30th) ===<br />
Syllabus discussion, introduction to the ideas of laptop orchestra, [[SLOrk/2016/station_setup|how to set up laptop orchestra gear]]. Learn pieces from the laptop orchestra repertoire, first ChucK instrument example.<br />
* Homework: Create a short solo musical work/statement for one station.<br />
* Reading: [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, 2007]; [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink ''et al.'', 2007].<br />
<br />
=== Week 2: (April 6th) ===<br />
Initial instrument design presentation and critique; each person to give a mini-performance of 1-2 minutes; presentation on physical interaction design.<br />
* Homework: Milestone 1.<br />
* Reading: Mead, 1999.<br />
<br />
=== Week 3: (April 13th) ===<br />
SLOrktastic milestone #1: initial work in-progress of piece; 3 minute performance.<br />
* Homework: Milestone 2.<br />
* Reading: TBA<br />
<br />
=== Week 4: (April 20th) ===<br />
SLOrktastic milestone #2: complete composition/performance.<br />
* Homework: Polish your piece – the concert is next week!<br />
<br />
=== Week 5: (April 27th, May 1st) ===<br />
<br />
April 27th: Dress rehearsal of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
May 1st: Tech run-through during the day (by appt). 6:00pm call (dinner provided) for 7:30pm SLOrktastic Chamber Music Concert. Invite your friends!<br />
* Homework: Proposal / sketch for final musical work.<br />
* Reading: Smallwood et al., 2008.<br />
<br />
=== Week 6: (May 4th) ===<br />
Proposal & sketch for final composition/performance; strategies and tools; networking.<br />
* Homework: Final Milestone #1<br />
* Reading: Cook, N.<br />
<br />
=== Week 7: (May 11th) ===<br />
Final Milestone #1: initial full ensemble rehearsal for each piece in-progress<br />
* Homework: Final Milestone #2<br />
<br />
=== Week 8: (May 18th) ===<br />
Final Milestone #2: full ensemble rehearsal for complete piece in-progress, with score presentation as you see fit.<br />
* Homework: Polish your work!<br />
<br />
=== Week 9: (May 25th) ===<br />
<br />
Normal class period, last workshopping and rehearsal of pieces for the Bing concert. The pieces should be finished by this date; this rehearsal will be focused on ensemble coordination and performance.<br />
<br />
=== Week 10: (June 1st, June 2nd) ===<br />
<br />
June 1st:<br />
* 4pm-10pm Dress rehearsal #1 of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
June 2nd:<br />
* 12pm: Dress rehearsal #2 of pieces for the performance (schedule and order to be emailed by day previous)<br />
* 7:30pm: SLOrk @ Bing 2015 (Spring Concert)</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016&diff=18878SLOrk/20162016-03-30T23:58:25Z<p>Tsob: </p>
<hr />
<div>Welcome to this year's '''Music 128 / CS 170: Stanford Laptop Orchestra'''! This wiki is your portal to useful SLOrk-related info. See also the [[SLOrk/2016/FAQ|SLOrk FAQ]] and the [[SLOrk/2016/station_setup|station setup guide]].<br />
<br />
[[File:SLOrk-lr-04s.jpg]]<br />
<br />
== Regular Class Meetings ==<br />
Times: Wednesdays, 7:30 pm - 10:20 pm<br />
<br />
Room: CCRMA Stage (Knoll 315)<br />
<br />
== Directors ==<br />
* [https://ccrma.stanford.edu/~ge/ Ge Wang]<br />
* [https://ccrma.stanford.edu/~matt/ Matt Wright], co-director and guest instructor <br />
* [https://ccrma.stanford.edu/~tsob Tim O’Brien], co-director and TA<br />
<br />
== Course Description ==<br />
This course explores composing and coding for, and performance with, laptop orchestra. Topics and activities include issues of instrument design, sound synthesis, programming, composing for laptop orchestra, and live performance. Coursework includes designing laptop-mediated software musical instruments, crafting musical works, and live performance.<br />
<br />
To engage with these ideas most fully, students will write compositions and perform them live in two concerts during the spring quarter.<br />
<br />
== Musical Works ==<br />
Student output in this class will consist of at least 2 musical works (approximately one by the end of the 4th week, and the second by the end of the 8th week) – including instrument design, sound design, programming, and crafting musical presentation – to be first performed in a dress rehearsal in class and then at a public performance. The first musical work will be a piece of ‘chamber music’ (for a small number of players – between 2-4), and the second musical work will be a piece for the full ensemble.<br />
<br />
Pieces typically average 4-7 minutes. Group work is encouraged – multiple students may work on the same composition.<br />
<br />
== Grading ==<br />
The importance of timely attendance and active participation in this class cannot be overstated. As a performance ensemble, we are relying on each other to be present to perform and critique each other’s work. Therefore, by joining this class, you are committing to attending every class period, as well as the following rehearsals/concerts:<br />
<br />
* May 1st – noon-6pm – group rehearsal by piece (by appt)<br />
* May 1st – 6:00pm on – SLOrktastic Chamber Music (concert at 7:30pm)<br />
* June 1st – 4pm-10pm – dress rehearsal #1 in Bing Concert Hall<br />
* June 2nd – 12pm on – dress rehearsal #2 in Bing Concert Hall (final concert at 8:00pm)<br />
<br />
If you miss a concert or dress rehearsal for any reason other than an excusable emergency, it will result in the lowering of your grade by 2 letter grades. Missing a regular class period will lower it one letter grade; being late for a regular class period will lower it by 1/3 letter grade (e.g. A goes to A-).<br />
<br />
With your attendance grade as the baseline, grades will be modulated by participation. Each class you will receive a ✓ if you come prepared to participate, are attentive in class, and demonstrate progress on your work. If you come and do not participate, are inattentive, or are unprepared, you’ll receive a ✓-. Two ✓-’s will result in the lowering of a full letter grade. ✓+’s may be given out on occasion, and may result in the raising of your final grade.<br />
<br />
You must come to class 30 minutes early (i.e. at 7pm) for at least three (3) class sessions to help set up the equipment. This counts toward your participation grade. You can sign up at this page: [[SLOrk/2016/setup_signup]].<br />
<br />
== Readings ==<br />
The unofficial textbook of the course is Programming for Musicians and Digital Artists: Creating music with ChucK (ISBN: 1617291706). It provides many good examples of features in ChucK, and will be useful for quickly gaining fluency in the language.<br />
<br />
For ChucK beginners, we also recommend Introduction to Programming for Musicians and Digital Artists, an online course from kadenze.com. You can access course videos freely by signing up for a free account at kadenze.com, and then navigating to https://www.kadenze.com/courses/introduction-to-programming-for-musicians-and-digital-artists-iii <br />
<br />
Additionally, you will be engaged in topics such as the embodiment of sound in technology-mediated performance, meaningful instrument interaction between players, and indeed, the point of a laptop orchestra. As such, we’ve amalgamated a short reading list. The readings will be made available on Coursework the week they are assigned. Although we may not necessarily be discussing them directly in class, ideas will be drawn from them to frame activities and discussions in class. They will be good perspective for the course, and indeed, for your musical life.<br />
<br />
=== Laptop Orchestra ===<br />
* [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, D., (2007). “Why a laptop orchestra?” ''Organised Sound''. 12(2), 171-179.]<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood, S., Trueman, S., Cook, P.R., Wang, G., (2008). "Composing for laptop orchestra." ''Computer Music Journal''. 32(1), 9-25.]<br />
* [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink, R., Wang, G., Cook, P.R.. “Don't Forget the Laptop: Using Native Input Capabilities for Expressive Musical Control”. In ''Proceedings of New Interfaces for Musical Expression'', 2007.]<br />
<br />
=== Gesture in Performance ===<br />
* [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, A. (1999). “Bodily Hearing: Physiological Metaphors and Musical Understanding. ''Journal of Music Theory''. 43(1), 1-19.]<br />
* Godøy, R. I. "Gestural Affordances of Musical Sound," in Musical Gestures: Sound, Movement, and Meaning, ed. Rolf Inge Godøy and Marc Leman (Routledge, 2010). pp 103-125.<br />
<br />
=== Other ===<br />
* Cook, N. Inaugural Lecture at the University of Cambridge.<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320582945 Wessel, David, and Matthew Wright. "Problems and prospects for intimate musical control of computers." Computer Music Journal 26.3 (2002): 11-22.]<br />
* [http://www.nime.org/proceedings/2015/nime2015_329.pdf Wan Rosli et al. “Ensemble Feedback Networks,” in Proceedings of the International Conference on New Interfaces for Musical Expression, Baton Rouge, Louisiana, USA, 2015, pp. 144-149.]<br />
<br />
== Dress Code ==<br />
For concerts, the dress code will be concert black, colored socks optional.<br />
<br />
== Accommodations ==<br />
If you need accommodations for any physical, psychological, or learning disability, or if you want to inform me about a medical situation, please speak to me (Ge) outside of class.<br />
<br />
== Weekly Schedule (subject to change) ==<br />
<br />
=== Week 1: Introduction (March 30th) ===<br />
Syllabus discussion, introduction to the ideas of laptop orchestra, how to set up laptop orchestra gear. Learn pieces from the laptop orchestra repertoire, first ChucK instrument example.<br />
* Homework: Create a short solo musical work/statement for one station.<br />
* Reading: [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, 2007]; [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink ''et al.'', 2007].<br />
<br />
=== Week 2: (April 6th) ===<br />
Initial instrument design presentation and critique; each person to give a mini-performance of 1-2 minutes; presentation on physical interaction design.<br />
* Homework: Milestone 1.<br />
* Reading: Mead, 1999.<br />
<br />
=== Week 3: (April 13th) ===<br />
SLOrktastic milestone #1: initial work in-progress of piece; 3 minute performance.<br />
* Homework: Milestone 2.<br />
* Reading: TBA<br />
<br />
=== Week 4: (April 20th) ===<br />
SLOrktastic milestone #2: complete composition/performance.<br />
* Homework: Polish your piece – the concert is next week!<br />
<br />
=== Week 5: (April 27th, May 1st) ===<br />
<br />
April 27th: Dress rehearsal of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
May 1st: Tech run-through during the day (by appt). 6:00pm call (dinner provided) for 7:30pm SLOrktastic Chamber Music Concert. Invite your friends!<br />
* Homework: Proposal / sketch for final musical work.<br />
* Reading: Smallwood et al., 2008.<br />
<br />
=== Week 6: (May 4th) ===<br />
Proposal & sketch for final composition/performance; strategies and tools; networking.<br />
* Homework: Final Milestone #1<br />
* Reading: Cook, N.<br />
<br />
=== Week 7: (May 11th) ===<br />
Final Milestone #1: initial full ensemble rehearsal for each piece in-progress<br />
* Homework: Final Milestone #2<br />
<br />
=== Week 8: (May 18th) ===<br />
Final Milestone #2: full ensemble rehearsal for complete piece in-progress, with score presentation as you see fit.<br />
* Homework: Polish your work!<br />
<br />
=== Week 9: (May 25th) ===<br />
<br />
Normal class period, last workshopping and rehearsal of pieces for the Bing concert. The pieces should be finished by this date; this rehearsal will be focused on ensemble coordination and performance.<br />
<br />
=== Week 10: (June 1st, June 2nd) ===<br />
<br />
June 1st:<br />
* 4pm-10pm Dress rehearsal #1 of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
June 2nd:<br />
* 12pm: Dress rehearsal #2 of pieces for the performance (schedule and order to be emailed by day previous)<br />
* 7:30pm: SLOrk @ Bing 2015 (Spring Concert)</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016/station_setup&diff=18877SLOrk/2016/station setup2016-03-30T23:57:18Z<p>Tsob: Created page with "This page details how to set up a SLOrk station. == Ingredients == * 1 large rectangular SLOrk pillow. * 1 small circular SLOrk pillow. * 1 small IKEA table. * 1 MOTU, prefer..."</p>
<hr />
<div>This page details how to set up a SLOrk station.<br />
<br />
== Ingredients ==<br />
* 1 large rectangular SLOrk pillow.<br />
* 1 small circular SLOrk pillow.<br />
* 1 small IKEA table.<br />
* 1 MOTU, preferably the MOTU Ultralite mk3<br />
* 1 firewire cable (for connecting MOTU to laptop)<br />
* 1 Hemi speaker<br />
* 1 power adapter (for Hemi speaker)<br />
* 1 SLOrk Laptop (''aka'' a SLOrktop)<br />
* 1 laptop power adaptor<br />
* 1 blue cable snake (6-channels, for connecting MOTU to SLOrktop)<br />
<br />
== Assembly ==<br />
# Place the large rectangular pillow on the floor where you'll sit.<br />
# Place the circular pillow on top of the rectangular pillow. This is where you'll be sitting.<br />
# Place the small IKEA table directly in front of your pillows.<br />
# Place the SLOrk laptop on top of the IKEA table.<br />
# Place the MOTU directly underneath the IKEA table.<br />
# Place the Hemi speaker next to the IKEA table.<br />
# Plug in the laptop power.<br />
# Plug in the Hemi speaker power.<br />
# Use the Firewire cable to connect the MOTU to the laptop. (Note: when using the Firewire cable, we don't need a separate cable to power the MOTU.)<br />
# Use the cable snake to connect the MOTU to the Hemi.<br />
#* The cables are numbered on each end.<br />
#* The jacks are fatter on one end than the other. IMPORTANT: you'll plug the fatter side into the Hemi, since they won't fit side-by-side into the MOTU.<br />
#* Cables 1 and 2 plug into the MOTU main (left, right) outs. Cables 3-6 plug into MOTU analog audio out channels 1-4, respectively.<br />
#* On the Hemi side, the channels are (from left to right) 1-6.<br />
<br />
== Testing ==<br />
* Open up the laptop and sign in.<br />
* Your MOTU should be powered on as well; use the MOTU's master volume knob and set it to -20 dB.<br />
* In your laptop's system preferences, ensure that the sound output is the MOTU Ultralite.<br />
* Open up a terminal and type <code>hemi-test</code>. This will output a click in each channel successively, with ascending pitch. You should hear six distinct clicks over and over again.<br />
* Feel free to find us for troubleshooting, or consult the [[SLOrk/2016/FAQ|FAQs]].</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016/FAQ&diff=18876SLOrk/2016/FAQ2016-03-30T23:33:49Z<p>Tsob: add HEMI stuff</p>
<hr />
<div>FAQ and useful info for your SLOrk experience is here.<br />
<br />
== What's with the caps lock? ==<br />
<br />
On SLOrk machines, the "caps lock" key is instead a(nother) control key.<br />
<br />
== SLOrk Code Repository ==<br />
<br />
We use SVN to save all SLOrk code, from the beginning of time. You'll put yours there too!<br />
<br />
Each SLOrk laptop has a copy of this repository at <code>/Users/slork/slork</code>. The master repository is hosted at [https://chuck-dev.stanford.edu/svn/slork/trunk https://chuck-dev.stanford.edu/svn/slork/trunk].<br />
<br />
To update everything in the SLOrk repository, simply open a terminal and type <code>sup</code>. This performs <code>cd ~/slork && svn update</code>, ''i.e.'' go to root of your SLOrk repository directory and update all. You can also update only certain directories by navigating to them in terminal, and then typing <code>svn update</code>.<br />
<br />
== ChucK: version and setup ==<br />
We use ChucK '''1.3.5.3-dev'''. This is conveniently available in our SVN repo (see above), and is installed on each laptop at <code>~/slork/bin/chuck</code><br />
<br />
To test and fix a wrong chuck version:<br />
<br />
albacore:slork slork$ which chuck<br />
/usr/bin/chuck<br />
albacore:slork slork$ ls -l /usr/bin/chuck <br />
-rwxr-xr-x 1 root wheel 5229644 Apr 22 2015 /usr/bin/chuck<br />
We don't want that one!<br />
albacore:slork slork$ sudo rm /usr/bin/chuck<br />
Password:<br />
albacore:slork slork$ which chuck<br />
/Users/slork/slork/bin/chuck<br />
That's the right one!<br />
albacore:slork slork$ cd ~/slork<br />
albacore:slork slork$ sup<br />
~/slork ~/slork<br />
At revision 1891.<br />
~/slork<br />
<br />
Now let's double-check that we have the right version.<br />
albacore:slork slork$ chuck --about<br />
usage: chuck --[options|commands] [+-=^] file1 file2 file3 ...<br />
[options] = halt|loop|audio|silent|dump|nodump|server|about|probe|<br />
channels:<N>|out:<N>|in:<N>|dac:<N>|adc:<N>|<br />
srate:<N>|bufsize:<N>|bufnum:<N>|shell|empty|<br />
remote:<hostname>|port:<N>|verbose:<N>|level:<N>|<br />
callback|deprecate:{stop|warn|ignore}|<br />
chugin-load:{auto|off}|chugin-path:<path>|chugin:<name><br />
[commands] = add|remove|replace|remove.all|status|time|kill<br />
[+-=^] = shortcuts for add, remove, replace, status <br />
<br />
chuck version: 1.3.5.3-dev (chimera)<br />
mac os x : intel : 64-bit<br />
http://chuck.cs.princeton.edu/<br />
http://chuck.stanford.edu/<br />
Success!<br />
<br />
<br />
== Sound through MOTUs ==<br />
We have MOTU UltraLite mk3 and older MOTU UltraLite (version 1). Plug one into each laptop with a Firewire 400 to Firewire 800 cable. <br />
<br />
Output numbering is confusing because there are two “Main” outputs in addition to the 8 "analog out" aka "out" jacks. Software sees this:<br />
<br />
{| class="wikitable"<br />
! style="text-align:left;" | Software output channel<br />
! style="text-align:left;" | MOTU output jack<br />
|-<br />
|1-2<br />
|Main outs (left, right)<br />
|-<br />
|3-10<br />
|Outs "1" through "8" (all are actually off by 2)<br />
|-<br />
|11-12<br />
|S/PDIF digital outputs<br />
|-<br />
| 13-14<br />
| Headphones (though settings can change what exactly feeds the headphones)<br />
|}<br />
<br />
=== Master Volume ===<br />
The MOTUs have a master volume feature that can attenuate all outputs by a given number of dB between -80 and 0 (or also MUTE, which is minus infinity dBs).<br />
<br />
On the MOTU UltraLite mk3, the knob directly above the headphone jack (third knob from the left) toggles between controlling the “Phones” (headphones) or the “MASTER”. Press the button to switch which it controls.<br />
<br />
On the original UltraLite mk1, the upper left knob labeled “MAIN VOL” controls the master volume, which (sometimes? by default? depending on nondeterministic CueMix settings?) doesn’t affect the MAIN OUTs, only the OUT. In other words, for our purposes, it affects outputs 3-6 but not 1-2. That’s why we normally use only the mk3s but if you need to use a mk1 (e.g., because you need to daisy-chain FW400 to get >8 audio inputs) ask Ge to help configure this.<br />
<br />
== Sound through Hemis ==<br />
The “Hemis” are the hemispherical loudspeakers, pictured below.<br />
<br />
Power it with a black DC power adapter. Flip the power switch up for on. Some have slightly mechanically flaky power switches.<br />
<br />
Use a blue SLOrk snake to plug in six input signals. The two ends of the snake have different diameter metal plugs: the fat ones fit only the speaker side and are too fat to plug into the MOTU side. So, plug the skinny side into the MOTU and the fat side into the hemi.<br />
<br />
Channel 1 is the input closest to the switch, then going 2, 3, 4, 5, 6 to the left. These correspond to the loudspeakers as per the picture below.<br />
<br />
[[File:SpeakerSetup.jpg]]</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016/FAQ&diff=18875SLOrk/2016/FAQ2016-03-30T23:30:03Z<p>Tsob: MOTU stuff</p>
<hr />
<div>FAQ and useful info for your SLOrk experience is here.<br />
<br />
== What's with the caps lock? ==<br />
<br />
On SLOrk machines, the "caps lock" key is instead a(nother) control key.<br />
<br />
== SLOrk Code Repository ==<br />
<br />
We use SVN to save all SLOrk code, from the beginning of time. You'll put yours there too!<br />
<br />
Each SLOrk laptop has a copy of this repository at <code>/Users/slork/slork</code>. The master repository is hosted at [https://chuck-dev.stanford.edu/svn/slork/trunk https://chuck-dev.stanford.edu/svn/slork/trunk].<br />
<br />
To update everything in the SLOrk repository, simply open a terminal and type <code>sup</code>. This performs <code>cd ~/slork && svn update</code>, ''i.e.'' go to root of your SLOrk repository directory and update all. You can also update only certain directories by navigating to them in terminal, and then typing <code>svn update</code>.<br />
<br />
== ChucK: version and setup ==<br />
We use ChucK '''1.3.5.3-dev'''. This is conveniently available in our SVN repo (see above), and is installed on each laptop at <code>~/slork/bin/chuck</code><br />
<br />
To test and fix a wrong chuck version:<br />
<br />
albacore:slork slork$ which chuck<br />
/usr/bin/chuck<br />
albacore:slork slork$ ls -l /usr/bin/chuck <br />
-rwxr-xr-x 1 root wheel 5229644 Apr 22 2015 /usr/bin/chuck<br />
We don't want that one!<br />
albacore:slork slork$ sudo rm /usr/bin/chuck<br />
Password:<br />
albacore:slork slork$ which chuck<br />
/Users/slork/slork/bin/chuck<br />
That's the right one!<br />
albacore:slork slork$ cd ~/slork<br />
albacore:slork slork$ sup<br />
~/slork ~/slork<br />
At revision 1891.<br />
~/slork<br />
<br />
Now let's double-check that we have the right version.<br />
albacore:slork slork$ chuck --about<br />
usage: chuck --[options|commands] [+-=^] file1 file2 file3 ...<br />
[options] = halt|loop|audio|silent|dump|nodump|server|about|probe|<br />
channels:<N>|out:<N>|in:<N>|dac:<N>|adc:<N>|<br />
srate:<N>|bufsize:<N>|bufnum:<N>|shell|empty|<br />
remote:<hostname>|port:<N>|verbose:<N>|level:<N>|<br />
callback|deprecate:{stop|warn|ignore}|<br />
chugin-load:{auto|off}|chugin-path:<path>|chugin:<name><br />
[commands] = add|remove|replace|remove.all|status|time|kill<br />
[+-=^] = shortcuts for add, remove, replace, status <br />
<br />
chuck version: 1.3.5.3-dev (chimera)<br />
mac os x : intel : 64-bit<br />
http://chuck.cs.princeton.edu/<br />
http://chuck.stanford.edu/<br />
Success!<br />
<br />
<br />
== Sound through MOTUs ==<br />
We have MOTU UltraLite mk3 and older MOTU UltraLite (version 1). Plug one into each laptop with a Firewire 400 to Firewire 800 cable. <br />
<br />
Output numbering is confusing because there are two “Main” outputs in addition to the 8 "analog out" aka "out" jacks. Software sees this:<br />
<br />
{| class="wikitable"<br />
! style="text-align:left;" | Software output channel<br />
! style="text-align:left;" | MOTU output jack<br />
|-<br />
|1-2<br />
|Main outs (left, right)<br />
|-<br />
|3-10<br />
|Outs "1" through "8" (all are actually off by 2)<br />
|-<br />
|11-12<br />
|S/PDIF digital outputs<br />
|-<br />
| 13-14<br />
| Headphones (though settings can change what exactly feeds the headphones)<br />
|}<br />
<br />
=== Master Volume ===<br />
The MOTUs have a master volume feature that can attenuate all outputs by a given number of dB between -80 and 0 (or also MUTE, which is minus infinity dBs).<br />
<br />
On the MOTU UltraLite mk3, the knob directly above the headphone jack (third knob from the left) toggles between controlling the “Phones” (headphones) or the “MASTER”. Press the button to switch which it controls.<br />
<br />
On the original UltraLite mk1, the upper left knob labeled “MAIN VOL” controls the master volume, which (sometimes? by default? depending on nondeterministic CueMix settings?) doesn’t affect the MAIN OUTs, only the OUT. In other words, for our purposes, it affects outputs 3-6 but not 1-2. That’s why we normally use only the mk3s but if you need to use a mk1 (e.g., because you need to daisy-chain FW400 to get >8 audio inputs) ask Ge to help configure this.</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016/FAQ&diff=18874SLOrk/2016/FAQ2016-03-30T23:17:58Z<p>Tsob: add chuck version and setup</p>
<hr />
<div>FAQ and useful info for your SLOrk experience is here.<br />
<br />
== What's with the caps lock? ==<br />
<br />
On SLOrk machines, the "caps lock" key is instead a(nother) control key.<br />
<br />
== SLOrk Code Repository ==<br />
<br />
We use SVN to save all SLOrk code, from the beginning of time. You'll put yours there too!<br />
<br />
Each SLOrk laptop has a copy of this repository at <code>/Users/slork/slork</code>. The master repository is hosted at [https://chuck-dev.stanford.edu/svn/slork/trunk https://chuck-dev.stanford.edu/svn/slork/trunk].<br />
<br />
To update everything in the SLOrk repository, simply open a terminal and type <code>sup</code>. This performs <code>cd ~/slork && svn update</code>, ''i.e.'' go to root of your SLOrk repository directory and update all. You can also update only certain directories by navigating to them in terminal, and then typing <code>svn update</code>.<br />
<br />
<br />
== ChucK: version and setup ==<br />
We use ChucK '''1.3.5.3-dev'''. This is conveniently available in our SVN repo (see above), and is installed on each laptop at <code>~/slork/bin/chuck</code><br />
<br />
To test and fix a wrong chuck version:<br />
<br />
albacore:slork slork$ which chuck<br />
/usr/bin/chuck<br />
albacore:slork slork$ ls -l /usr/bin/chuck <br />
-rwxr-xr-x 1 root wheel 5229644 Apr 22 2015 /usr/bin/chuck<br />
We don't want that one!<br />
albacore:slork slork$ sudo rm /usr/bin/chuck<br />
Password:<br />
albacore:slork slork$ which chuck<br />
/Users/slork/slork/bin/chuck<br />
That's the right one!<br />
albacore:slork slork$ cd ~/slork<br />
albacore:slork slork$ sup<br />
~/slork ~/slork<br />
At revision 1891.<br />
~/slork<br />
<br />
Now let's double-check that we have the right version.<br />
albacore:slork slork$ chuck --about<br />
usage: chuck --[options|commands] [+-=^] file1 file2 file3 ...<br />
[options] = halt|loop|audio|silent|dump|nodump|server|about|probe|<br />
channels:<N>|out:<N>|in:<N>|dac:<N>|adc:<N>|<br />
srate:<N>|bufsize:<N>|bufnum:<N>|shell|empty|<br />
remote:<hostname>|port:<N>|verbose:<N>|level:<N>|<br />
callback|deprecate:{stop|warn|ignore}|<br />
chugin-load:{auto|off}|chugin-path:<path>|chugin:<name><br />
[commands] = add|remove|replace|remove.all|status|time|kill<br />
[+-=^] = shortcuts for add, remove, replace, status <br />
<br />
chuck version: 1.3.5.3-dev (chimera)<br />
mac os x : intel : 64-bit<br />
http://chuck.cs.princeton.edu/<br />
http://chuck.stanford.edu/<br />
Success!</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016&diff=18873SLOrk/20162016-03-30T23:12:26Z<p>Tsob: Add SLOrk FAQ link</p>
<hr />
<div>Welcome to this year's '''Music 128 / CS 170: Stanford Laptop Orchestra'''! This wiki is your portal to useful SLOrk-related info. See also the [[SLOrk/2016/FAQ|SLOrk FAQ]].<br />
<br />
[[File:SLOrk-lr-04s.jpg]]<br />
<br />
== Regular Class Meetings ==<br />
Times: Wednesdays, 7:30 pm - 10:20 pm<br />
<br />
Room: CCRMA Stage (Knoll 315)<br />
<br />
== Directors ==<br />
* [https://ccrma.stanford.edu/~ge/ Ge Wang]<br />
* [https://ccrma.stanford.edu/~matt/ Matt Wright], co-director and guest instructor <br />
* [https://ccrma.stanford.edu/~tsob Tim O’Brien], co-director and TA<br />
<br />
== Course Description ==<br />
This course explores composing and coding for, and performance with, laptop orchestra. Topics and activities include issues of instrument design, sound synthesis, programming, composing for laptop orchestra, and live performance. Coursework includes designing laptop-mediated software musical instruments, crafting musical works, and live performance.<br />
<br />
To engage with these ideas most fully, students will write compositions and perform them live in two concerts during the spring quarter.<br />
<br />
== Musical Works ==<br />
Student output in this class will consist of at least 2 musical works (approximately one by the end of the 4th week, and the second by the end of the 8th week) – including instrument design, sound design, programming, and crafting musical presentation – to be first performed in a dress rehearsal in class and then at a public performance. The first musical work will be a piece of ‘chamber music’ (for a small number of players – between 2-4), and the second musical work will be a piece for the full ensemble.<br />
<br />
Pieces typically average 4-7 minutes. Group work is encouraged – multiple students may work on the same composition.<br />
<br />
== Grading ==<br />
The importance of timely attendance and active participation in this class cannot be overstated. As a performance ensemble, we are relying on each other to be present to perform and critique each other’s work. Therefore, by joining this class, you are committing to attending every class period, as well as the following rehearsals/concerts:<br />
<br />
* May 1st – noon-6pm – group rehearsal by piece (by appt)<br />
* May 1st – 6:00pm on – SLOrktastic Chamber Music (concert at 7:30pm)<br />
* June 1st – 4pm-10pm – dress rehearsal #1 in Bing Concert Hall<br />
* June 2nd – 12pm on – dress rehearsal #2 in Bing Concert Hall (final concert at 8:00pm)<br />
<br />
If you miss a concert or dress rehearsal for any reason other than an excusable emergency, it will result in the lowering of your grade by 2 letter grades. Missing a regular class period will lower it one letter grade; being late for a regular class period will lower it by 1/3 letter grade (e.g. A goes to A-).<br />
<br />
With your attendance grade as the baseline, grades will be modulated by participation. Each class you will receive a ✓ if you come prepared to participate, are attentive in class, and demonstrate progress on your work. If you come and do not participate, are inattentive, or are unprepared, you’ll receive a ✓-. Two ✓-’s will result in the lowering of a full letter grade. ✓+’s may be given out on occasion, and may result in the raising of your final grade.<br />
<br />
You must come to class 30 minutes early (i.e. at 7pm) for at least three (3) class sessions to help set up the equipment. This counts toward your participation grade. You can sign up at this page: [[SLOrk/2016/setup_signup]].<br />
<br />
== Readings ==<br />
The unofficial textbook of the course is Programming for Musicians and Digital Artists: Creating music with ChucK (ISBN: 1617291706). It provides many good examples of features in ChucK, and will be useful for quickly gaining fluency in the language.<br />
<br />
For ChucK beginners, we also recommend Introduction to Programming for Musicians and Digital Artists, an online course from kadenze.com. You can access course videos freely by signing up for a free account at kadenze.com, and then navigating to https://www.kadenze.com/courses/introduction-to-programming-for-musicians-and-digital-artists-iii <br />
<br />
Additionally, you will be engaged in topics such as the embodiment of sound in technology-mediated performance, meaningful instrument interaction between players, and indeed, the point of a laptop orchestra. As such, we’ve amalgamated a short reading list. The readings will be made available on Coursework the week they are assigned. Although we may not necessarily be discussing them directly in class, ideas will be drawn from them to frame activities and discussions in class. They will be good perspective for the course, and indeed, for your musical life.<br />
<br />
=== Laptop Orchestra ===<br />
* [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, D., (2007). “Why a laptop orchestra?” ''Organised Sound''. 12(2), 171-179.]<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood, S., Trueman, S., Cook, P.R., Wang, G., (2008). "Composing for laptop orchestra." ''Computer Music Journal''. 32(1), 9-25.]<br />
* [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink, R., Wang, G., Cook, P.R.. “Don't Forget the Laptop: Using Native Input Capabilities for Expressive Musical Control”. In ''Proceedings of New Interfaces for Musical Expression'', 2007.]<br />
<br />
=== Gesture in Performance ===<br />
* [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, A. (1999). “Bodily Hearing: Physiological Metaphors and Musical Understanding. ''Journal of Music Theory''. 43(1), 1-19.]<br />
* Godøy, R. I. "Gestural Affordances of Musical Sound," in Musical Gestures: Sound, Movement, and Meaning, ed. Rolf Inge Godøy and Marc Leman (Routledge, 2010). pp 103-125.<br />
<br />
=== Other ===<br />
* Cook, N. Inaugural Lecture at the University of Cambridge.<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320582945 Wessel, David, and Matthew Wright. "Problems and prospects for intimate musical control of computers." Computer Music Journal 26.3 (2002): 11-22.]<br />
* [http://www.nime.org/proceedings/2015/nime2015_329.pdf Wan Rosli et al. “Ensemble Feedback Networks,” in Proceedings of the International Conference on New Interfaces for Musical Expression, Baton Rouge, Louisiana, USA, 2015, pp. 144-149.]<br />
<br />
== Dress Code ==<br />
For concerts, the dress code will be concert black, colored socks optional.<br />
<br />
== Accommodations ==<br />
If you need accommodations for any physical, psychological, or learning disability, or if you want to inform me about a medical situation, please speak to me (Ge) outside of class.<br />
<br />
== Weekly Schedule (subject to change) ==<br />
<br />
=== Week 1: Introduction (March 30th) ===<br />
Syllabus discussion, introduction to the ideas of laptop orchestra, how to set up laptop orchestra gear. Learn pieces from the laptop orchestra repertoire, first ChucK instrument example.<br />
* Homework: Create a short solo musical work/statement for one station.<br />
* Reading: [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, 2007]; [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink ''et al.'', 2007].<br />
<br />
=== Week 2: (April 6th) ===<br />
Initial instrument design presentation and critique; each person to give a mini-performance of 1-2 minutes; presentation on physical interaction design.<br />
* Homework: Milestone 1.<br />
* Reading: Mead, 1999.<br />
<br />
=== Week 3: (April 13th) ===<br />
SLOrktastic milestone #1: initial work in-progress of piece; 3 minute performance.<br />
* Homework: Milestone 2.<br />
* Reading: TBA<br />
<br />
=== Week 4: (April 20th) ===<br />
SLOrktastic milestone #2: complete composition/performance.<br />
* Homework: Polish your piece – the concert is next week!<br />
<br />
=== Week 5: (April 27th, May 1st) ===<br />
<br />
April 27th: Dress rehearsal of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
May 1st: Tech run-through during the day (by appt). 6:00pm call (dinner provided) for 7:30pm SLOrktastic Chamber Music Concert. Invite your friends!<br />
* Homework: Proposal / sketch for final musical work.<br />
* Reading: Smallwood et al., 2008.<br />
<br />
=== Week 6: (May 4th) ===<br />
Proposal & sketch for final composition/performance; strategies and tools; networking.<br />
* Homework: Final Milestone #1<br />
* Reading: Cook, N.<br />
<br />
=== Week 7: (May 11th) ===<br />
Final Milestone #1: initial full ensemble rehearsal for each piece in-progress<br />
* Homework: Final Milestone #2<br />
<br />
=== Week 8: (May 18th) ===<br />
Final Milestone #2: full ensemble rehearsal for complete piece in-progress, with score presentation as you see fit.<br />
* Homework: Polish your work!<br />
<br />
=== Week 9: (May 25th) ===<br />
<br />
Normal class period, last workshopping and rehearsal of pieces for the Bing concert. The pieces should be finished by this date; this rehearsal will be focused on ensemble coordination and performance.<br />
<br />
=== Week 10: (June 1st, June 2nd) ===<br />
<br />
June 1st:<br />
* 4pm-10pm Dress rehearsal #1 of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
June 2nd:<br />
* 12pm: Dress rehearsal #2 of pieces for the performance (schedule and order to be emailed by day previous)<br />
* 7:30pm: SLOrk @ Bing 2015 (Spring Concert)</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016/FAQ&diff=18872SLOrk/2016/FAQ2016-03-30T23:10:39Z<p>Tsob: Created page with "FAQ and useful info for your SLOrk experience is here. == What's with the caps lock? == On SLOrk machines, the "caps lock" key is instead a(nother) control key. == SLOrk Co..."</p>
<hr />
<div>FAQ and useful info for your SLOrk experience is here.<br />
<br />
== What's with the caps lock? ==<br />
<br />
On SLOrk machines, the "caps lock" key is instead a(nother) control key.<br />
<br />
== SLOrk Code Repository ==<br />
<br />
We use SVN to save all SLOrk code, from the beginning of time. You'll put yours there too!<br />
<br />
Each SLOrk laptop has a copy of this repository at <code>/Users/slork/slork</code>. The master repository is hosted at [https://chuck-dev.stanford.edu/svn/slork/trunk https://chuck-dev.stanford.edu/svn/slork/trunk].<br />
<br />
To update everything in the SLOrk repository, simply open a terminal and type <code>sup</code>. This performs <code>cd ~/slork && svn update</code>, ''i.e.'' go to root of your SLOrk repository directory and update all. You can also update only certain directories by navigating to them in terminal, and then typing <code>svn update</code>.</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016&diff=18871SLOrk/20162016-03-30T22:08:15Z<p>Tsob: /* Grading */ add signup link</p>
<hr />
<div>Welcome to this year's '''Music 128 / CS 170: Stanford Laptop Orchestra'''! This wiki is your portal to useful SLOrk-related info.<br />
<br />
[[File:SLOrk-lr-04s.jpg]]<br />
<br />
== Regular Class Meetings ==<br />
Times: Wednesdays, 7:30 pm - 10:20 pm<br />
<br />
Room: CCRMA Stage (Knoll 315)<br />
<br />
== Directors ==<br />
* [https://ccrma.stanford.edu/~ge/ Ge Wang]<br />
* [https://ccrma.stanford.edu/~matt/ Matt Wright], co-director and guest instructor <br />
* [https://ccrma.stanford.edu/~tsob Tim O’Brien], co-director and TA<br />
<br />
== Course Description ==<br />
This course explores composing and coding for, and performance with, laptop orchestra. Topics and activities include issues of instrument design, sound synthesis, programming, composing for laptop orchestra, and live performance. Coursework includes designing laptop-mediated software musical instruments, crafting musical works, and live performance.<br />
<br />
To engage with these ideas most fully, students will write compositions and perform them live in two concerts during the spring quarter.<br />
<br />
== Musical Works ==<br />
Student output in this class will consist of at least 2 musical works (approximately one by the end of the 4th week, and the second by the end of the 8th week) – including instrument design, sound design, programming, and crafting musical presentation – to be first performed in a dress rehearsal in class and then at a public performance. The first musical work will be a piece of ‘chamber music’ (for a small number of players – between 2-4), and the second musical work will be a piece for the full ensemble.<br />
<br />
Pieces typically average 4-7 minutes. Group work is encouraged – multiple students may work on the same composition.<br />
<br />
== Grading ==<br />
The importance of timely attendance and active participation in this class cannot be overstated. As a performance ensemble, we are relying on each other to be present to perform and critique each other’s work. Therefore, by joining this class, you are committing to attending every class period, as well as the following rehearsals/concerts:<br />
<br />
* May 1st – noon-6pm – group rehearsal by piece (by appt)<br />
* May 1st – 6:00pm on – SLOrktastic Chamber Music (concert at 7:30pm)<br />
* June 1st – 4pm-10pm – dress rehearsal #1 in Bing Concert Hall<br />
* June 2nd – 12pm on – dress rehearsal #2 in Bing Concert Hall (final concert at 8:00pm)<br />
<br />
If you miss a concert or dress rehearsal for any reason other than an excusable emergency, it will result in the lowering of your grade by 2 letter grades. Missing a regular class period will lower it one letter grade; being late for a regular class period will lower it by 1/3 letter grade (e.g. A goes to A-).<br />
<br />
With your attendance grade as the baseline, grades will be modulated by participation. Each class you will receive a ✓ if you come prepared to participate, are attentive in class, and demonstrate progress on your work. If you come and do not participate, are inattentive, or are unprepared, you’ll receive a ✓-. Two ✓-’s will result in the lowering of a full letter grade. ✓+’s may be given out on occasion, and may result in the raising of your final grade.<br />
<br />
You must come to class 30 minutes early (i.e. at 7pm) for at least three (3) class sessions to help set up the equipment. This counts toward your participation grade. You can sign up at this page: [[SLOrk/2016/setup_signup]].<br />
<br />
== Readings ==<br />
The unofficial textbook of the course is Programming for Musicians and Digital Artists: Creating music with ChucK (ISBN: 1617291706). It provides many good examples of features in ChucK, and will be useful for quickly gaining fluency in the language.<br />
<br />
For ChucK beginners, we also recommend Introduction to Programming for Musicians and Digital Artists, an online course from kadenze.com. You can access course videos freely by signing up for a free account at kadenze.com, and then navigating to https://www.kadenze.com/courses/introduction-to-programming-for-musicians-and-digital-artists-iii <br />
<br />
Additionally, you will be engaged in topics such as the embodiment of sound in technology-mediated performance, meaningful instrument interaction between players, and indeed, the point of a laptop orchestra. As such, we’ve amalgamated a short reading list. The readings will be made available on Coursework the week they are assigned. Although we may not necessarily be discussing them directly in class, ideas will be drawn from them to frame activities and discussions in class. They will be good perspective for the course, and indeed, for your musical life.<br />
<br />
=== Laptop Orchestra ===<br />
* [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, D., (2007). “Why a laptop orchestra?” ''Organised Sound''. 12(2), 171-179.]<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood, S., Trueman, S., Cook, P.R., Wang, G., (2008). "Composing for laptop orchestra." ''Computer Music Journal''. 32(1), 9-25.]<br />
* [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink, R., Wang, G., Cook, P.R.. “Don't Forget the Laptop: Using Native Input Capabilities for Expressive Musical Control”. In ''Proceedings of New Interfaces for Musical Expression'', 2007.]<br />
<br />
=== Gesture in Performance ===<br />
* [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, A. (1999). “Bodily Hearing: Physiological Metaphors and Musical Understanding. ''Journal of Music Theory''. 43(1), 1-19.]<br />
* Godøy, R. I. "Gestural Affordances of Musical Sound," in Musical Gestures: Sound, Movement, and Meaning, ed. Rolf Inge Godøy and Marc Leman (Routledge, 2010). pp 103-125.<br />
<br />
=== Other ===<br />
* Cook, N. Inaugural Lecture at the University of Cambridge.<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320582945 Wessel, David, and Matthew Wright. "Problems and prospects for intimate musical control of computers." Computer Music Journal 26.3 (2002): 11-22.]<br />
* [http://www.nime.org/proceedings/2015/nime2015_329.pdf Wan Rosli et al. “Ensemble Feedback Networks,” in Proceedings of the International Conference on New Interfaces for Musical Expression, Baton Rouge, Louisiana, USA, 2015, pp. 144-149.]<br />
<br />
== Dress Code ==<br />
For concerts, the dress code will be concert black, colored socks optional.<br />
<br />
== Accommodations ==<br />
If you need accommodations for any physical, psychological, or learning disability, or if you want to inform me about a medical situation, please speak to me (Ge) outside of class.<br />
<br />
== Weekly Schedule (subject to change) ==<br />
<br />
=== Week 1: Introduction (March 30th) ===<br />
Syllabus discussion, introduction to the ideas of laptop orchestra, how to set up laptop orchestra gear. Learn pieces from the laptop orchestra repertoire, first ChucK instrument example.<br />
* Homework: Create a short solo musical work/statement for one station.<br />
* Reading: [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, 2007]; [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink ''et al.'', 2007].<br />
<br />
=== Week 2: (April 6th) ===<br />
Initial instrument design presentation and critique; each person to give a mini-performance of 1-2 minutes; presentation on physical interaction design.<br />
* Homework: Milestone 1.<br />
* Reading: Mead, 1999.<br />
<br />
=== Week 3: (April 13th) ===<br />
SLOrktastic milestone #1: initial work in-progress of piece; 3 minute performance.<br />
* Homework: Milestone 2.<br />
* Reading: TBA<br />
<br />
=== Week 4: (April 20th) ===<br />
SLOrktastic milestone #2: complete composition/performance.<br />
* Homework: Polish your piece – the concert is next week!<br />
<br />
=== Week 5: (April 27th, May 1st) ===<br />
<br />
April 27th: Dress rehearsal of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
May 1st: Tech run-through during the day (by appt). 6:00pm call (dinner provided) for 7:30pm SLOrktastic Chamber Music Concert. Invite your friends!<br />
* Homework: Proposal / sketch for final musical work.<br />
* Reading: Smallwood et al., 2008.<br />
<br />
=== Week 6: (May 4th) ===<br />
Proposal & sketch for final composition/performance; strategies and tools; networking.<br />
* Homework: Final Milestone #1<br />
* Reading: Cook, N.<br />
<br />
=== Week 7: (May 11th) ===<br />
Final Milestone #1: initial full ensemble rehearsal for each piece in-progress<br />
* Homework: Final Milestone #2<br />
<br />
=== Week 8: (May 18th) ===<br />
Final Milestone #2: full ensemble rehearsal for complete piece in-progress, with score presentation as you see fit.<br />
* Homework: Polish your work!<br />
<br />
=== Week 9: (May 25th) ===<br />
<br />
Normal class period, last workshopping and rehearsal of pieces for the Bing concert. The pieces should be finished by this date; this rehearsal will be focused on ensemble coordination and performance.<br />
<br />
=== Week 10: (June 1st, June 2nd) ===<br />
<br />
June 1st:<br />
* 4pm-10pm Dress rehearsal #1 of pieces for the performance (schedule and order to be emailed by day previous)<br />
<br />
June 2nd:<br />
* 12pm: Dress rehearsal #2 of pieces for the performance (schedule and order to be emailed by day previous)<br />
* 7:30pm: SLOrk @ Bing 2015 (Spring Concert)</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016/setup_signup&diff=18870SLOrk/2016/setup signup2016-03-30T22:07:25Z<p>Tsob: Created page with "Use this page to sign up for early setup. As mentioned in the syllabus, you must come 30 mins early to class (''i.e.'' 7 pm), for at least three (3) cla..."</p>
<hr />
<div>Use this page to sign up for early setup. As mentioned in the [[SLOrk/2016#Grading|syllabus]], you must come 30 mins early to class (''i.e.'' 7 pm), for at least three (3) class periods in the quarter, to help setup the SLOrk stations.<br />
<br />
== Week 1 (March 30th) ==<br />
* <br />
* <br />
* <br />
<br />
== Week 2 (April 6th) ==<br />
* <br />
* <br />
* <br />
<br />
== Week 3 (April 13th) ==<br />
* <br />
* <br />
* <br />
<br />
== Week 4 (April 20th) ==<br />
* <br />
* <br />
* <br />
<br />
== Week 5 (April 27th) ==<br />
* <br />
* <br />
* <br />
<br />
== Week 6 (May 4th) ==<br />
* <br />
* <br />
* <br />
<br />
== Week 7 (May 11th) ==<br />
* <br />
* <br />
* <br />
<br />
== Week 8 (May 18th) ==<br />
* <br />
* <br />
* <br />
<br />
== Week 9 (May 25th) ==<br />
* <br />
* <br />
*</div>Tsobhttps://ccrma.stanford.edu/mediawiki/index.php?title=SLOrk/2016&diff=18869SLOrk/20162016-03-30T21:59:55Z<p>Tsob: /* Grading */</p>
<hr />
<div>Welcome to this year's '''Music 128 / CS 170: Stanford Laptop Orchestra'''! This wiki is your portal to useful SLOrk-related info.<br />
<br />
[[File:SLOrk-lr-04s.jpg]]<br />
<br />
== Regular Class Meetings ==<br />
Times: Wednesdays, 7:30 pm - 10:20 pm<br />
<br />
Room: CCRMA Stage (Knoll 315)<br />
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== Directors ==<br />
* [https://ccrma.stanford.edu/~ge/ Ge Wang]<br />
* [https://ccrma.stanford.edu/~matt/ Matt Wright], co-director and guest instructor <br />
* [https://ccrma.stanford.edu/~tsob Tim O’Brien], co-director and TA<br />
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== Course Description ==<br />
This course explores composing and coding for, and performance with, laptop orchestra. Topics and activities include issues of instrument design, sound synthesis, programming, composing for laptop orchestra, and live performance. Coursework includes designing laptop-mediated software musical instruments, crafting musical works, and live performance.<br />
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To engage with these ideas most fully, students will write compositions and perform them live in two concerts during the spring quarter.<br />
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== Musical Works ==<br />
Student output in this class will consist of at least 2 musical works (approximately one by the end of the 4th week, and the second by the end of the 8th week) – including instrument design, sound design, programming, and crafting musical presentation – to be first performed in a dress rehearsal in class and then at a public performance. The first musical work will be a piece of ‘chamber music’ (for a small number of players – between 2-4), and the second musical work will be a piece for the full ensemble.<br />
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Pieces typically average 4-7 minutes. Group work is encouraged – multiple students may work on the same composition.<br />
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== Grading ==<br />
The importance of timely attendance and active participation in this class cannot be overstated. As a performance ensemble, we are relying on each other to be present to perform and critique each other’s work. Therefore, by joining this class, you are committing to attending every class period, as well as the following rehearsals/concerts:<br />
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* May 1st – noon-6pm – group rehearsal by piece (by appt)<br />
* May 1st – 6:00pm on – SLOrktastic Chamber Music (concert at 7:30pm)<br />
* June 1st – 4pm-10pm – dress rehearsal #1 in Bing Concert Hall<br />
* June 2nd – 12pm on – dress rehearsal #2 in Bing Concert Hall (final concert at 8:00pm)<br />
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If you miss a concert or dress rehearsal for any reason other than an excusable emergency, it will result in the lowering of your grade by 2 letter grades. Missing a regular class period will lower it one letter grade; being late for a regular class period will lower it by 1/3 letter grade (e.g. A goes to A-).<br />
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With your attendance grade as the baseline, grades will be modulated by participation. Each class you will receive a ✓ if you come prepared to participate, are attentive in class, and demonstrate progress on your work. If you come and do not participate, are inattentive, or are unprepared, you’ll receive a ✓-. Two ✓-’s will result in the lowering of a full letter grade. ✓+’s may be given out on occasion, and may result in the raising of your final grade.<br />
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You must come to class 30 minutes early (i.e. at 7pm) for at least three (3) class sessions to help set up the equipment. This counts toward your participation grade.<br />
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== Readings ==<br />
The unofficial textbook of the course is Programming for Musicians and Digital Artists: Creating music with ChucK (ISBN: 1617291706). It provides many good examples of features in ChucK, and will be useful for quickly gaining fluency in the language.<br />
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For ChucK beginners, we also recommend Introduction to Programming for Musicians and Digital Artists, an online course from kadenze.com. You can access course videos freely by signing up for a free account at kadenze.com, and then navigating to https://www.kadenze.com/courses/introduction-to-programming-for-musicians-and-digital-artists-iii <br />
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Additionally, you will be engaged in topics such as the embodiment of sound in technology-mediated performance, meaningful instrument interaction between players, and indeed, the point of a laptop orchestra. As such, we’ve amalgamated a short reading list. The readings will be made available on Coursework the week they are assigned. Although we may not necessarily be discussing them directly in class, ideas will be drawn from them to frame activities and discussions in class. They will be good perspective for the course, and indeed, for your musical life.<br />
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=== Laptop Orchestra ===<br />
* [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, D., (2007). “Why a laptop orchestra?” ''Organised Sound''. 12(2), 171-179.]<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2008.32.1.9 Smallwood, S., Trueman, S., Cook, P.R., Wang, G., (2008). "Composing for laptop orchestra." ''Computer Music Journal''. 32(1), 9-25.]<br />
* [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink, R., Wang, G., Cook, P.R.. “Don't Forget the Laptop: Using Native Input Capabilities for Expressive Musical Control”. In ''Proceedings of New Interfaces for Musical Expression'', 2007.]<br />
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=== Gesture in Performance ===<br />
* [https://www.jstor.org/stable/3090688?seq=1#page_scan_tab_contents Mead, A. (1999). “Bodily Hearing: Physiological Metaphors and Musical Understanding. ''Journal of Music Theory''. 43(1), 1-19.]<br />
* Godøy, R. I. "Gestural Affordances of Musical Sound," in Musical Gestures: Sound, Movement, and Meaning, ed. Rolf Inge Godøy and Marc Leman (Routledge, 2010). pp 103-125.<br />
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=== Other ===<br />
* Cook, N. Inaugural Lecture at the University of Cambridge.<br />
* [http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320582945 Wessel, David, and Matthew Wright. "Problems and prospects for intimate musical control of computers." Computer Music Journal 26.3 (2002): 11-22.]<br />
* [http://www.nime.org/proceedings/2015/nime2015_329.pdf Wan Rosli et al. “Ensemble Feedback Networks,” in Proceedings of the International Conference on New Interfaces for Musical Expression, Baton Rouge, Louisiana, USA, 2015, pp. 144-149.]<br />
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== Dress Code ==<br />
For concerts, the dress code will be concert black, colored socks optional.<br />
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== Accommodations ==<br />
If you need accommodations for any physical, psychological, or learning disability, or if you want to inform me about a medical situation, please speak to me (Ge) outside of class.<br />
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== Weekly Schedule (subject to change) ==<br />
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=== Week 1: Introduction (March 30th) ===<br />
Syllabus discussion, introduction to the ideas of laptop orchestra, how to set up laptop orchestra gear. Learn pieces from the laptop orchestra repertoire, first ChucK instrument example.<br />
* Homework: Create a short solo musical work/statement for one station.<br />
* Reading: [http://plork.princeton.edu/papers/WhyALaptopOrchestra.pdf Trueman, 2007]; [http://www.gewang.com/publish/files/2007-nime-smelt.pdf Fiebrink ''et al.'', 2007].<br />
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=== Week 2: (April 6th) ===<br />
Initial instrument design presentation and critique; each person to give a mini-performance of 1-2 minutes; presentation on physical interaction design.<br />
* Homework: Milestone 1.<br />
* Reading: Mead, 1999.<br />
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=== Week 3: (April 13th) ===<br />
SLOrktastic milestone #1: initial work in-progress of piece; 3 minute performance.<br />
* Homework: Milestone 2.<br />
* Reading: TBA<br />
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=== Week 4: (April 20th) ===<br />
SLOrktastic milestone #2: complete composition/performance.<br />
* Homework: Polish your piece – the concert is next week!<br />
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=== Week 5: (April 27th, May 1st) ===<br />
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April 27th: Dress rehearsal of pieces for the performance (schedule and order to be emailed by day previous)<br />
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May 1st: Tech run-through during the day (by appt). 6:00pm call (dinner provided) for 7:30pm SLOrktastic Chamber Music Concert. Invite your friends!<br />
* Homework: Proposal / sketch for final musical work.<br />
* Reading: Smallwood et al., 2008.<br />
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=== Week 6: (May 4th) ===<br />
Proposal & sketch for final composition/performance; strategies and tools; networking.<br />
* Homework: Final Milestone #1<br />
* Reading: Cook, N.<br />
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=== Week 7: (May 11th) ===<br />
Final Milestone #1: initial full ensemble rehearsal for each piece in-progress<br />
* Homework: Final Milestone #2<br />
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=== Week 8: (May 18th) ===<br />
Final Milestone #2: full ensemble rehearsal for complete piece in-progress, with score presentation as you see fit.<br />
* Homework: Polish your work!<br />
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=== Week 9: (May 25th) ===<br />
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Normal class period, last workshopping and rehearsal of pieces for the Bing concert. The pieces should be finished by this date; this rehearsal will be focused on ensemble coordination and performance.<br />
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=== Week 10: (June 1st, June 2nd) ===<br />
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June 1st:<br />
* 4pm-10pm Dress rehearsal #1 of pieces for the performance (schedule and order to be emailed by day previous)<br />
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June 2nd:<br />
* 12pm: Dress rehearsal #2 of pieces for the performance (schedule and order to be emailed by day previous)<br />
* 7:30pm: SLOrk @ Bing 2015 (Spring Concert)</div>Tsob