Digital Audio Composition
ARTV 420 / MUSC 420
part of the curriculum in Art, Technology and Critical Studies (+ATACS) at the University of San Diego
next offered Spring, 2008
Instructor: Christopher Adler
Analysis of historical and contemporary experimental music and sound provides the foundation for structured and creative composition using digitized sound. Includes an introduction to sampling, recording techniques, digital audio editing, effects processing and mixing using Digital Performer and related software. Workshop format includes critique of work-in-progress and opportunities for public performance.
Prerequisite: ARTH 109 / MUSC 109 recommended but not required.
The digital audio medium offers the ability to manipulate sound as raw material, liberated from the structures of traditional music. Our exploration of this radical approach to sonic art will be informed by the repertoire and theories of selected historical and contemporary innovators in electronic and computer music. With a technical foundation in manipulating sound informed by this experimental tradition, we will proceed to investigate the application of traditional musical techniques and contemporary artistic concerns to composition in the digital audio medium.
Assignments will consist of technical exercises and creative projects along with supporting readings and listenings. Technical exercises are constrained in scope and are designed develop facility with particular capabilities of the hardware and software and particular creative or technical principles. Creative exercises consist of a series of short sound compositions under constraints, designed exploring different approaches to structuring sonic material. All creative projects are prepared in drafts which are subject to in-class critique. The final project is a complete work, which may be developed from one of the composition exercises. Successful work will be eligible for inclusion on the annual Student Composers Concert. Students are encouraged to develop additional opportunities for the presentation of their work.
In general, students may use any technical resources in the studio or in their own possession to fulfill the assignments, with occasional exceptions. Lectures will include introductions to the hardware and software resources available in the Digital Audio Studio, but students are expected to use the manuals and to experiment in order to gain facility in their use. Furthermore, students may use their own hardware and software, and seek out freeware and other options. Evaluation will be focused on artistic results, not specific technical procedures. In this sense, this course should be understood as creative and exploratory in nature, and not technical training in electronic music, digital audio or recording technology operation.
Software and internet resources
Audacity
Csound (source)
Csound (resources)
Puredata
Princeton Sound Kitchen
mast-r
Soundhack
Supercollider
Open Path Music (samples)
KVR Audio
USD links:
Department of Art
Music Program
ARTV 109 / MUSC 109: Introduction to Sound Art
ARTV 424 / MUSC 424: Art and the Soundscape
Christopher Adler
Michael Rich
Spring, 2008
Rest, by Joseph Olivarez
The Raven, by Joseph Olivarez
Dark Energy, by Justin Webster
Storm, by Tori Lund
final projects:
Static Remix, by Tori Lund
The Earth's Corners, by Joseph Olivarez
Music Bachs, by Miguel A. Camacho-Padilla
Variations on Silence, by Justin Webster
Absum!, by Joe Williams
Don't Yell in the Casino, by Anoop Patel
Walking through War, by Brian Hannula
Realizing Beethoven, by Tony Krzmarzick
Projection, by Ryan Luz
Fall, 2006
Rook and Queen, by Saher Behrooznia
Search for Sanctuary, by Jessica Giesler
Broken Glass, by Paul Infantino
Continuous Sound, by Ryan Lynch
Spiders on Crank, by Ryan Lynch
The Unnatural Elements, by Garrett Phelps
Hiccup, by Nicholas Starke
Obnoxious Children, by Nicholas Starke
Fall, 2002
I Want to Sleep, by Frank Zaccaria
Untitled, by Frank Zaccaria