Perhaps we will make a Piazza forum (or something like it) for rapid communication with the class.
Regular Class Meetings
Times: Wednesdays, 7:30 pm - 10:20 pm
Room: CCRMA Stage (Knoll 315)
- Matt Wright
- Christopher Jette, co-director and guest instructor
- Zhengshan (Kitty) Shi, co-director and TA
- Also we might see SLOrk founder Ge Wang from time to time even though he's on sabbatical
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.
To engage with these ideas most fully, students will write compositions and perform them live in two concerts during the spring quarter.
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.
Pieces typically average 4-7 minutes. Group work is encouraged: multiple students may work on the same composition.
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:
- May 11th – noon-6pm – group rehearsal by piece (by appt)
- May 11th – 6pm on – SLOrktastic Chamber Music (concert at 7:30pm)
- June 1st – 2pm-10pm – load-in, set up, and dress rehearsal #1 in Bing Concert Hall
- June 2nd – 2pm-10pm dress rehearsal #2 in Bing Concert Hall
- June 3rd – 2pm-6pm dress rehearsal #3 in Bing Concert Hall
- June 3rd 7:30pm final concert
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-).
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.
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/2017/setup_signup.
We 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. This ranges from the philosophy of aesthetics to the technical nuts and bolts of hardware and software.
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.
The textbook for ChucK 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.
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
- Trueman, D., (2007). “Why a laptop orchestra?” Organised Sound. 12(2), 171-179.
- Smallwood, S., Trueman, S., Cook, P.R., Wang, G., (2008). "Composing for laptop orchestra." Computer Music Journal. 32(1), 9-25.
- 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.
Gesture in Performance
- Mead, A. (1999). “Bodily Hearing: Physiological Metaphors and Musical Understanding. Journal of Music Theory. 43(1), 1-19.
- 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.
- Cook, N. Inaugural Lecture at the University of Cambridge.
- Wessel, David, and Matthew Wright. "Problems and prospects for intimate musical control of computers." Computer Music Journal 26.3 (2002): 11-22.
- 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.
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 Matt outside of class.