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Music 47/147 Intro to Electronic Music FALL, 2015 Tues.

2:30-5:00 in MUS 234
+ minimum 1 hour lab with TA Zach Mariano, + individual studio time
Maggi Payne,, ext. 2187, Office Hours Wed. 5:15-7:15 Rm 32
class alias = mus047-fa-2015, mus147, see equipment room door for TAs on duty .5-1credit
Meets the Creation and Criticism in the Arts Gen Ed requirement, and is required for music
majors specializing in Composition with an emphasis in Media Technology or Electronic Music
09/01 Discussion of the contents of the course, requirements, grading, general principles of
09/08 Oscillators, waveforms, Fourier analysis, recording, mixing. Exercise 1) oscillator piece :
30-:60 due 15 Sept. Set lab times, sign contracts.
09/15 Filters. Exercise 2) filter piece :30-:60 due 22 Sept.
09/22 Voltage control: AM and FM. Exercise 3) AM/FM :30-:60 piece due 29 Sept.
09/29 Envelope Generators: DC voltage control (keyboard). Exercise 4) Envelope generator
:30-:60 piece due 06 Oct.
10/06 Sequencer, sequential switch, etc. Exercise 5) piece using sequencer :30-:60 piece due
13 Oct.
10/13 Summation of techniques to date. Review. 1st main project due 20 Oct.
•10/20 First individual projects due. Three to five minutes duration. Mixed to CD.
10/27 Interfacing the Moog. Exercise 6) Process external signals through Moog, :30-:60 piece
due 03 Nov. Exercise 7) 5 minute Moog basic track for class project due 17 Nov.
11/03 Multi-tracking and mixing in the Moog studio. 2nd main project due 01 Dec.
11/10 Electronic Music History, listening. 5 minute Moog basic track for class project due 17
11/17 5 minute Pieces for class project due. Listen, sequence, lay to 24 track.
11/24 Mix class project. 2nd main project due 01 Dec.
*12/01 Final individual projects due. 3-5 minutes duration—CD format.
no final, no exams
projects: due Oct. 20 & Dec. 1, and 7 exercises.
grading: class and lab attendance and participation 50%. exercises 25%, individual projects
I WILL BE AVAILABLE FOR CONSULTATION on Mondays around 1:00, between the hours of
5:15-7:15 Wednesdays, and by appointment. Our teaching assistant will also be able to assist
you (times TBA), as will other TA's between 9 am-12 noon and 1-5 pm weekdays.
OTHER REQUIREMENTS: Read related text on handouts. One individual lab time (one hour
per week, but you can sign up for more if needed) and one lab with TA (one hour per week).

430-2130 ••• The Music Department is committed to providing a creative atmosphere based on mutual respect between all members of our community. C. mixing. Perera. Electronic music. Projects are due on time. Jon H. please email or call me ahead of time to let me know and to let me know the reason or let met know afterwards. ISBN 069703612X. systems. Students are assessed on their comprehension of the technology and techniques taught and on their compositional skills as demonstrated by the seven required exercises. Englewood Cliffs: Prentice-Hall. ISBN 0132076055. Please seek help from me. You must complete all assignments (there are 7 exercises. and controls. Chadabe. The development and practice of electronic music (chapter by Joel Chadabe). concert. Hands-on experience in electronic music composition.. and by their attitude and behavior in class and labs. You will be expected to use the basic vocabulary learned and to communicate effectively when discussing your own and other’s works. Allen. Learning: In this class you will be expected to learn the Moog III P synthesizer and the principles of hearing. and a survey of the compositional and artistic developments of the last 50 years.2 OTHER READINGS (optional—all available in the library): Appleton. ISBN 0133032310.1972. and basic recording techniques. You will also learn electronic music composition. voltage controlled filters. LABS ARE REQUIRED AND GRADED. and two large scale pieces that they create. Upper Saddle River. and 2 major projects). 1st ed. recording. and mixing. which are all presented to the class. DC control using the keyboard and sequencer. signal processing. They are also assessed on their ability to discuss their own and others’ works. Electronic Sound. voltage controlled amplifiers. one 5 minute track for the class piece. Strange. If you are unable to complete a project on time. please contact Services for Students with Disabilities in the Cowell Building immediately. techniques. voltage controlled oscillators. their contribution to the class composition. 1997. Any audio or video recording made without the knowledge or permission of those who are being recorded constitutes a violation of that respect. the operation of standard analog electronic audio modules. You will need about 1-5 CD-Rs and possibly 1 type II audio cassette. You will demonstrate the skills you have acquired by presenting seven brief exercises and two major compositions (projects) during this course. Dubuque: W. as otherwise I will count this as an unexcused absence.: Prentice Hall. 1975. The last day of class is the last day to turn in projects. Introduction to acoustics. and be sure to turn in your late project as soon as lateness affects the grade for the project. These exercises and works will all be presented and discussed in class and will be evaluated both technically and compositionally by the instructor and students in the class. or other sponsored event. and creation of short compositions and studies using these resources. basic acoustics. musique concrète. and the last project must be in on time. multitracking. Any infraction of this rule represents a . and Ronald C. Since this class meets only once per week attendance is required unless you are sick or have a compelling excuse. If you need course adaptations or accommodations because of a disability. lecture. multi-track recording. Joel. N. Surreptitious recording is NOT allowed in any Music Department class. the TA for the class. please let me know why. or other TAs if you are having difficulty. We are here to help you. If you must miss a class. Brown Co.J. If you fall behind or your projects and class projects or class or lab attendance is poor you will receive a deficiency notice. eds. Course description: Introduction to the techniques and theory of electro-acoustic music. amplitude and frequency modulation.

I P 5) Understand or use collaborative techniques for the creation of an artistic or literary work. technique. I P 3) Use the basic vocabulary fundamental to the criticism of art in her medium of choice. ••• Food and drinks (with the exception of sealed/closed water bottles) are not allowed in this wing of the Music building. Student work will be presented and critiqued throughout the semester. Using appropriate technical terms. In discussions students will respond to artistic works of their own making. students will describe their usage of the system so that others can learn how they accomplished their patches/sounds and they will communicate effectively using these terms and concepts when discussing the works of other students. that of their peers. and apply their understanding in their artistic work. whether her own work or that of others. or create and present her own artistic work by applying these concepts in her medium of choice. D = Developed) 1) Students will learn to think critically. their peers. possibilities. and will demonstrate an understanding of the processes and creative possibilities of the medium. reception. form. and program goals. and established artists regarding form. how these components interconnect and interact. . Students will listen critically to the sounds they. Students will analyze and understand functions of each system component. Mission goals (I = Introduce. and established artists create and they will use appropriate technical and aesthetic terms that they will learn in discussions of these works. and aesthetics. Students will explore new concepts. or influence. I Gen ed goals—Creation and Criticism in the Arts 1) Engage with the creative process. I P 4) Students will learn to develop and realize their own creative visions across the arts and sciences. Students will actively engage in the creation of exercises and works in the medium of electronic music. device. Students will develop innovative compositional approaches and techniques. style. and gesture) in at least one art form. I P 2) Demonstrate familiarity with important artistic concepts (such as medium.3 Behavior Standard Violation as defined by the Mills Student Handbook. context. P = Practice. and approaches to become strong individualists in their creative works. I P 4) Construct a response to an artistic work that incorporates some of the following issues: genre. ••• More on mission. Students will apply their knowledge of compositional concepts when creating works in this medium. which can result in disciplinary action by the College. I P 5) Students will learn to push the traditional boundaries of their disciplines. general education. aesthetics. and motivate and inspire others. Please do not eat in or around the studios or in this wing of the building or throw food away in this wing of the building. either actively or critically. form and style. Students will demonstrate increasing technical proficiency to fully realize and express their creative visions in this medium. I P 2) Students will learn to communicate responsibly and effectively. I P 3) Students will develop as leaders and innovators in their chosen endeavors.

social. and requires a minimum of 9 hours of outside work per week. their contribution to the class composition. students must complete all work except the final exam to qualify for consideration of an incomplete. although each student is responsible for presenting their own individual work. All work for which a source is not cited is presumed to be that of the writer. If the Academic Integrity Standards described above are violated. Students will demonstrate their understanding of the fundamentals of acoustics and basic electronic music theory by analyzing works by their peers and established electronic music composers. I For Music Majors—Program Goals 1) Understand music within a broad cultural. and two large scale pieces that they create. For purposes of the Mills College Honor Code.. Students who have not completed substantial coursework should not assume that they will be "given" an incomplete at the end of the semester. past and present. the instructor will decide on an appropriate response that may include the assignment of extra work. computer music. and/or thoughts without properly crediting the source. I 4) Have a thorough grasp of music theory and history. and an understanding of how to use these skills for creative ends. which are all presented to the class. and a comprehensive knowledge of its styles and repertoire. ••• Definition of Mills Semester Course Credit. Students will come to recognize and acknowledge the pervasiveness of electronic music in and across cultures and how their approaches to the medium are influenced by their conditioning. and they will work in teams to mix all of their works together to form a new composition. problem solve. failure of the course. plagiarism is defined as intentionally or knowingly using someone else’s ideas.g. and by their attitude and behavior in class and labs. political. I 2) Possess a knowledge of and openness to a diversity of musical styles. Policy on Academic Integrity: Students shall honestly prepare assignments and take examinations and submit them at the time and in the manner specified by the instructor. technical skills in the use of electronic and recording media. and recording engineering. In this class. The content of all submitted examinations and assignments is assumed to represent the student’s own work unless otherwise specified (e. and intellectual context. For composers: to demonstrate the ability to write music. words. Plagiarism is a serious breach of academic trust. Students also work collaboratively on a class project in which each student contributes individual work. I P D Students are assessed on their comprehension of the technology and techniques taught and on their compositional skills as demonstrated by the seven required exercises. College policy on Incompletes: students qualify for incomplete grades only if they have completed 2/3 of the total coursework and are responding to unforeseen circumstances. Students will demonstrate the ability to conceptualize. and to have learned and developed improvisation skills in addition to studying the standard repertory. . and/or the report of the incident to the Provost and Dean of the Faculty for further sanction. (For performers and composers) possess skills with improvisation as well as a standard repertory and technical skills in electronic music. I 5) For performers: to demonstrate technical mastery of her instrument or discipline. plan out. A typical academic course usually meets for 150 minutes per week for 14 weeks. lowering grades on a particular assignment. They are also assessed on their ability to discuss their own and others’ works. and realize their technical and artistic visions. Students will explore different approaches to composing electronic music and broaden their knowledge of and openness to the diverse possibilities within this medium.4 Working in teams is encouraged. group projects).

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