Courses

A study of the creative, technical, production, and business aspects of writing music for visual media, primarily television commercials. Content includes the creative process: reacting to emotion and mood of visuals, supporting the picture with appropriate music, stylistic considerations, compressing/expanding musical ideas, and hitting visual cues. Production aspects include various approaches to shaping the musical product to support the creative direction that has been chosen or provided. Exploration of sound design (incorporation of sound effects into music tracks) and technical aspects of timings, film editing influences, frame-counting, and synchronization. Business aspects: working with producers and directors, taking direction, selling ideas, and general and contractual obligations that modify the creative process. Various projects and assignments in writing music in different moods, styles, and lengths, that support and enhance visuals. Most creative work will be realized at MIDI workstations using a MIDI sequencing program and video software; students must have a strong working knowledge of MIDI systems and sequencing programs.

This class is a small contemporary ensemble consisting of synthesizers and other electronics, typically along with a rhythm section composed of drum set and electric bass. The ensemble develops a concert-ready performance based upon improvisation, extended performance techniques, sound design, and grooves.

Students in this class will develop proficiency using a Monome open source grid controller and a laptop computer to perform in solo, duo, and small ensemble settings. The class will explore techniques and develop repertoire using freely available open source software, and/or software developed by class members. Strategies based on representative literature using practice session material will prepare students to use the system to perform in a variety of musical performance roles. Emphasis will be placed on developing associated listening skills.

An open forum for development of live performance multi-instrumental duo/trio ensembles consisting of electronic, electroacoustic, and acoustic sources. The class splits into a number of smaller groups working on two compositions and playing in class on a rotating schedule for discussion and critique. This course uses a variety of instrumental approaches such as controls surfaces, audio/MIDI processing, MAX/MSP patches, and any instruments.

In this course, students will learn strategies for composing electronic music that apply to a broad range of contemporary styles and genres. Through a series of guided exercises and projects, the class provides an opportunity for students to explore compositional approaches used in the work of classic electronic artists such as Aphex Twin, Squarepusher, Jon Hopkins, and Boards of Canada. The class will emphasize connections between traditional composition techniques and how they are used by contemporary electronic artists. Listening assignments and readings from Making Music: 74 Creative Strategies for Electronic Music Producers by Dennis DeSantis will inform classroom discussions and assignments.

Based on the concepts and skills learned in EP-220 Studio Technologies, this course places a primary emphasis on the improvement of student productions through effective mixing techniques. Mix balance, equalization, dynamics, and other signal processing techniques will be explored and applied to a series of projects. Genre-specific techniques will be discussed, in addition to electronic music styles and sound design scenarios.

Building on concepts and skills developed in EP-225, this advanced, project-oriented course focuses on mastering an electronic music production environment using a wide variety of hardware and software. Emphasis is placed on integrating advanced MIDI sequencing techniques with audio production. These techniques are applied in a series of projects that include, music and sound design for animation, remixing and developing original electronic music. Topics include advanced real-time control of synthesis parameters, spotting to picture, manipulation of musical time and tempo, and effectively working with various rhythmic feels. Special attention will be paid to integrating hardware instruments and controllers in a software-based DAW production environment.

Building on the concepts learned in EP-223, this course further develops a student’s understanding and application of core synthesis skills to include additive, FM, sampling, and other advanced synthesis techniques. Additional work with sonic ear training and patch dictation helps students identify and create unusual and dynamic instrumental sounds and sound effects. Classroom activities and assignments provide the opportunity to use advanced hardware and software synthesis systems to develop unique electronic sounds that can be used in live performance, electronic music production, media post-production, and video game audio applications.

A creative study of the musical aesthetics involved with composing and arranging in a wide range of popular Indian musical genres, including pop songs, remix hits, and classical forms. Utilizing a variety of electronic programming and production techniques, students will complete a series of guided projects that effectively demonstrate the contemporary application of Indian ragas, musical instrumentation, and popular stylistic repertoire.

In this class students will learn how to use Csound, a powerful and versatile sound synthesis and processing software environment, for electronic composition, production, and innovative sound design. Students will design sounds and compose pieces using classic synthesis techniques such as additive, subtractive, waveshaping, wavetable, granular, and physical modeling. Students will learn how to use Csound as a plug-in for Ableton Live and the iPad to produce innovative sound design for TV, film, multimedia installations, and games. Students will also use Csound as the basis for graduate-level research in computer music and music perception.

This course explores working in situations which typify the demands of commercial music production. This includes composing in a wide variety of idioms, to specific stylistic direction, and under common constraints that effect commercial music composition. These projects require the student to draw upon their skills in composition, electronic music production, and sound design. This course will confront the student with issues and problems common to the working composer, music producer, and sound designer.

An overview of the electronically produced/processed voice, with exploration of: human voice mechanics; formants in speech and singing; time-stretching granular techniques; channel and phase vocoders; parametric EQ; and formant (fixed) filters. Theoretical underpinnings and practical examples of the transformative power of convolution are presented. Synergistic dymaxion music composition approaches that exercise elements learned in class are suggested, as alternatives to familiar software sequencer production. Students are provided weekly hands-on access to EP/D labs, where a variety of software and hardware systems are available. This course culminates in a public concert, and is suitable for those who recognize the central role that electronically produced and processed voices play in: video games; animation; advertising; contemporary songwriting; and telecommunications.