MUS 3123: Introduction to Electronic and Computer Music

Hear What Students DO in This Class

This course is offered only in the Spring semester. This is the Spring 2008 syllabus.

 

Click here for the this semester's listening list for the course.


 

Mondays, Wednesdays and Fridays 11:00-11:50
1.02.06 ARTS
Instructor: Dr. David Heuser
Office: 3.02.20
Office Phone: 458-5321
email: david.heuser@utsa.edu

Office hours: Monday 1-2pm; Tuesday 2-3pm; Wednesday 3-4pm, Thursday 2:30-3:30pm or by appointment

Course Web Page: http://music.utsa.edu/electron/MUS3123.htm

Required Materials:

  • CD-R or CD-RW discs for data (a flash drive may also be used for some projects or for back up)
  • CD-R discs for audio recording (you can not CD-RW discs for these projects)
  • staff paper for note taking involving musical notation (available at any music store or free at http://www.blanksheetmusic.net/)
  • Use of the World Wide Web and an active email address is required for this course

Recommended Textbooks (all on reserve) – There will be required readings from most of these books.

  • Chadabe, Joel, Electric Sound ML1380 .C43 1997 [great history of electronic music]
  • De Furia, Steve, The Secrets of Analog and Digital Synthesis MT723 .D43 1988
  • Dodge, Charles and Jerse, Thomas, Computer Music (2nd edition) ML1092 .D54 1997 [the best technical book; where to go for explanations of FM, digital sampling, etc.]
  • Levitin, Daniel J. This is Your Brain on Music  ML 3830 .L38 2006
  • Prendergast, Roy M. Film Music: A Neglected Art ML2075 .P73 1977
  • Russcol, Herbert, The Liberation of Sound ML3817 .R88 [classic text on history]
  • Strange, Allen, Electronic Music ML1092 .S84 [classic text on analog systems]
  • Williams, David Brian and Webster, Peter Richard Experiencing music technology: software, data, and hardware (third edition) Folio ML74 .W55 2006

Course Description:
Introduction to Synthesizers and Music is designed, on a practical level, to cover the equipment in the UTSA Electronic Studio. The course will also cover some of the technical/theoretical aspects of electronic music so that students can adapt lessons learned here to other studios, different situations and the equipment of the future .Technical knowledge covered will include acoustics, synthesis, digital audio, MIDI, and computer software. Lastly there will be a listening element to the course, where important and representative pieces will introduce students to some of the multitude of possibilities open to them when creating music in the electronic studio. As these pieces are discussed, some of the history of electronic music will also be covered.

Goals of the Course:
After successfully completing this course, the student should: 

  • be able to use some of the equipment in the UTSA Electronic Studio to create music,
  • be able to use the software and hardware covered in the course
  • be able to learn and use other electronic music software and hardware using the technical information gained in the course,
  • be familiar with some of the important works of electronic music and general history of electronic music,
  • and be able to understand and articulate the technical and theoretical underpinnings of electronic and computer music.

Grading and course policies:
Your grade will be determined by the following:

  • Individual Projects - 24% (4 @ 6% each)
  • Group Project - 3%
  • Final Composition Project - 18%
  • Listening Exams (drop the needle) -  20%* (2 @ 10% each)
  • Written Quizzes - 20% (2 @ 10% each)
  • Studio Meetings - 10% (2 @ 5% each)
  • Homework - 5%

* up to three unannounced listening quizzes may be given on listening days (Fridays). For each failure on a quiz, your listening exam grade will be reduced by 10% (i.e. each quiz will remove 2% of the 20% the listening exams are worth).

 

Course Policies:

Attendance and punctuality are essential to this course. You cannot learn how to use the equipment in the studio without being in class, and hands on practice beyond class time (i.e. homework) will be impossible without the information covered in class. In addition, because we have no textbook, class notes will be essential to pass the exams. If a student is absent more than 8 times for any reason during the semester, I may, at my discretion, assign a final grade of F for the course. Two tardies will equal one absence; being late by more than 15 minutes will count as an absence.

Due to my inability to distinguish between legitimate and illegitimate excuses, I choose not to deal with excuses for ordinary absences. Absences are expected to be legitimate (why would you not come to class if you were able?). The only exception to this policy would be a case of prolonged forced absence, such as would be caused by a serious injury requiring hospitalization, or the like. In these cases, documentation is required (of course); otherwise, I do not wish to be shown doctor's notes, letters from funeral directors or mechanic's bills.

Make-up Work: Students are expected to make up all work missed.  If you are absent, it is your responsibility to get the notes from a classmate.  Do not make my office your first stop when you are trying to find out what you missed in class. I am willing to meet with you and discuss the course material only after you have taken appropriate steps to get caught up on your own. Although I do my best to be as available as possible to assist students in the studio when they have technical problems, I will not be as quick to aid students whose problems were covered in classes they missed. Generally extra handouts are placed to the left of blackboard so that you may retrieve them on your own. It is the student's responsibility to find out what handouts, assignments, and announcements were made for class time they missed.

Make up exams for scheduled exams will be allowed only if notice is given prior to the scheduled time.

Studio meetings: Twice during the semester I will schedule time to meet with you so that you can show me what you have learned. You will be graded on these meetings. I am available at other times to meet you in the studio to help you and answer your questions; please see me to arrange any meetings. (See above on make-up work, however.)

Class Deportment: Students are expected to assist in maintaining a classroom environment that is conducive to learning. To assure all students have the opportunity to gain from time spent in class, students are prohibited from engaging in any form of distraction. Inappropriate behavior in the classroom shall result, minimally, in a request to leave the class. Examples of inappropriate behavior include the use of cellular phones or beepers, eating in the classroom, prolonged chattering, excessive tardiness, sleeping, and overt inattentiveness.

Cheating:  Cheating in any form will not be tolerated.  All infractions will be reported to Student Judicial Affairs and prosecuted to the maximum extent allowed by the university. Except for group projects, any work you hand in is expected to be your work and your work only; claiming someone else’s work as your own is cheating.

Communication: If you need to contact me, there are a number of ways to do it. I am usually in my office, and will often be available to see students outside of posted office hours. If my door is closed, please check the schedule next to my door before knocking to make sure you are not interrupting a lesson or lunch. You can also reach me via my office phone and email, which are listed above and on the web (http://music.utsa.edu/Faculty/heuser/index.html). Emails should be courteous and formal, with proper spelling, capitalization, etc., and with a subject line that clearly states the purpose of the message. Ambiguous subject lines may result in an email being deleted as suspected spam. All Music Department faculty also have mailboxes located in the music office (3.01.58). If you would like to put something in my mailbox, give it to the office staff and ask them to place it there. If you have a concern, problem, question, issue or whatever, the best thing you can do is talk to me about it. Stay in touch!


Tentative Schedule - Subject to Change

Week 1, January  14, 16, 18

 

Introduction. What is electronic music? Historical overview.

Acoustics, Psychoacoustics

Reading for 1/18: Levitin: This is Your Brain on Music Chapter 1 (pp. 13-53)

Reading for 1/18: On history: http://music.utsa.edu/comp/history.htm

 

 

January 21 – no class

 

Martin Luther King, Jr. Day

 

 

Week 2, January 23, 25

Acoustics, Psychoacoustics continued

 

 

Interesting Sound homework due Wednesday, 1/23

 

Reading for 1/23:

Levitin This is Your Brain on Music pp. 67-69

Dodge/Jerse Computer Music pp. 25-38, 42-44, 46-59

 

Additional resource on acoustics: http://www.indiana.edu/%7eemusic/etext/acoustics/chapter1_intro.shtml

 

 

Week 3, January 28, 30,  February 1

Getting Around the Studio: Mixing Board and Routing

 

 

Homework: Acoustics due Monday 1/28

 

Reading for 1/28: page 3 of Studio Notebook (TASCAM DM-24), http://music.utsa.edu/comp/ProToolsRouting.pdf
Reading for the listening: Chadabe Electric Sound pp. 46-47 & 69 on Davidovsky

 

 

Week 4, February 4, 6, 8

Digital Audio, ProTools

 

 

Group Project 1 due Monday, 2/4

 

Reading for 2/4: Dodge/Jerse Computer music: Chapter 3 (pp. 62-71); http://www.indiana.edu/%7Eemusic/etext/digital_audio/chapter5_sample.shtml

http://www.indiana.edu/%7Eemusic/etext/digital_audio/chapter5_nyquist.shtml

http://www.indiana.edu/%7Eemusic/etext/digital_audio/chapter5_rate.shtml

http://www.indiana.edu/%7Eemusic/etext/digital_audio/chapter5_rate2.shtml

http://www.indiana.edu/%7Eemusic/etext/digital_audio/chapter5_quantize.shtml

http://www.indiana.edu/%7Eemusic/etext/digital_audio/chapter5_quantize2.shtml

 

Reading for 2/8:

http://music.utsa.edu/comp/GettingStartedwithProTools.htm

http://music.utsa.edu/comp/ProToolsQuickPrimer.htm

 

Reading for the listening: Chadabe Electric Sound pp. 70-71 on L’s G. A.

 

Additional resource on digital audio:

Additional modules at Indiana University site (above): Digital Audio Overview, Binary Numbers, DACs, Audio File Formats

 

 

Week 5, February 11, 13, 15

Digital Audio continued, ProTools, Composition part 1

 

 

Homework: Digital Audio due Wednesday 2/13

Individual Project 1 due Friday 2/15

 

 

Week 6, February 18, 20, 22

Quiz 1, Monday, February 18: Acoustics and Digital Audio

 

Listening due Wednesday this week!

Reading for the listening: Chadabe Electric Sound pp. 123-125 on Dodge

 

No class on Friday 2/22

 

 

Week 7, February 25, 27, 29

Individual Meetings: Wednesday and Friday

 

 

On Monday & Wednesday we will not met as a class. Rather, everyone will have a 10 minute meeting with me to demonstrate their ability to use the studio (mixing board, routing, Pro Tools), and to discuss their Projects

 

Individual Project 2 due Monday 2/25

 

Friday: regular class

Reading for the listening: Chadabe Electric Sound pp. 133-134 on Lansky

 

Week 8, March 3, 5, 7

Listening Exam No. 1, Monday, March 5, 2007

 

 

Composition part 2, Catch-up

 

Week 9, March 10, 12, 14

SMPTE, Video scoring

 

Individual Project 3 due Monday 3/10

 

Reading for 3/10: http://music.utsa.edu/comp/SMPTE.html, Pendergast Film Music Chapter 6 (pp. 201-214); optional: Chapters 7 & 8.

 

 

 

 

Spring Break - March 17-21

 

Week 10, March 24, 26, 28

MIDI and Sequencing (Digital Performer)

Note: March 25 is the last day for most students to drop a class.

Homework: Video Scoring due Friday 3/28

Homework: MIDI due Friday 3/28

 

Reading for 3/24:

Williams/Webster Experiencing Music Technology pp. 216-228

 

Additional resource on MIDI:

http://www.indiana.edu/%7Eemusic/etext/MIDI/chapter3_MIDI.shtml (note there are 14 pages to this chapter; navigation is at the bottom of the page)

 

Reading for 3/28: http://music.utsa.edu/comp/performer1.htm

http://music.utsa.edu/comp/DPflotsam&jetsam.htm

 

 

 

Week 11, March 31, April 2, 4

Synthesis; K2000 Synthesizer

 

Individual Project 4 due Friday 4/4

 

Reading for 3/31: de Furia The Secrets of Analog and Digital Synthesis pp. 48-77

 

Additional resource on filters: http://www.indiana.edu/%7Eemusic/etext/synthesis/chapter4_filters.shtml (2 pages);

Additional resource on waveforms:

http://www.indiana.edu/%7Eemusic/etext/synthesis/chapter4_waveforms.shtml (2 pages)

 

Reading for 4/2: On K2000: http://music.utsa.edu/comp/k2disc.htm

http://music.utsa.edu/comp/k2editor.htm

 

Reading for the listening: Chadabe Electric Sound p. 77 (2nd half of page on Reich’s It’s Gonna Rain, which is similar to Come Out)

 

 

 

 

Week 12, April 7, 9, 11

K2000 continued; Controllers

 

 

It is suggested you begin work on Final Projects no later than this week.

 

Homework: Synthesis due Wednesday 4/9

Homework: Controllers due Friday 4/11

 

Reading for 4/7: On K2000: http://music.utsa.edu/comp/controll.htm

 

 

Week 13, April 14, 16, 18

Other software: Reason, Max-MSP

Quiz 2, Wednesday April 16: MIDI, Video, Sequencers and Synthesis

 

Reading for 4/14: Williams/Webster Experiencing Music Technology pp. 304-308

 

Reading for 4/18: http://music.utsa.edu/comp/max1.htm

Williams/Webster Experiencing Music Technology pp. 308-309

 

Reading for the listening: Chadabe Electric Sound pp. 146-149

 

 

Week 14, April 21, 23, 25

Individual Meetings

 

On Monday & Wednesday we will not met as a class. Rather, everyone will have a 10 minute meeting with me to demonstrate their ability to use the studio (mixing board, routing, Pro Tools), and to discuss their Final Projects. You MUST begin work (i.e. have some audio) on your final project by your meeting time this week.

 

Friday: regular class

Reading for the listening: Chadabe Electric Sound pp. 158-163 on Spiegel

 

 

 

Week 15, April 28, 30

Review, Work on Final Projects

 

Final Projects Due Wednesday, April 28 at class time

 

Final: Monday, May 5, 1:30-4:15 pm - Listening Exam No. 2 and Final Projects to be performed


Copyright © 1998, David Heuser
Revised - January 2008
Email any problems, questions or requests about this page to david.heuser@utsa.edu
URL:  http://music.utsa.edu/electron/MUS3123.htm