Computer Music SCCP
Computer Music SCCP
Meeting Places
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- Lecture: M11
- Rm. 361 (nearest Mt. Bandai), x3470
- Lab: Computer Music Studios
- Rm. 328-E (x3460); printer=propr30
"3DDDDDDD," Chromastereoptic
image by Haruki Sato
The SCCP in computer music surveys these areas:
Most of the courses that students take as computer science majors emphasize
scientific discipline and the accumulation of "truth." This computer
music SCCP includes such technically objective factors, but also encourages
original, creative expression, subjectively motivated by aesthetics rather
than "correctness." Unlike most other courses that try to converge on
a "right answer" shared by everyone, artistic disciplines like computer
music encourage originality, in which the best work is one that is like
no one else's!
Most of the coursework is reading articles and doing lab exercises
involving a student-composed song. Both emphasize creative applications
of music technology. No prior knowledge of music techniques is assumed. The
SCCP surveys areas listed and provides students with the opportunity to
explore some or all of them according to their own interests.
- Fundamentals
- Overview of ways that composers and performers have used computers; コンピューターを使って、作曲者と演奏者による概観
- Music Theory (chords, harmony, meolody, notation)
- Computer Music Software; コンピューターミュージックソフト使用
- Performance and appreciation of synthesized music; シンセサイザー音楽の演奏
- MIDI interfacing; ミディー (general MIDI, daisy chains, controllers, synthesizers)
- Use of computer music software; コンピューターミュージックソフト使用
- DTM: desk-top music
- Composition, sequencing, performance; 作曲と表音法、連鎖
- Exploration of internet for source material on sound and music
- Use of software packages for music production
- Sequencing; 作曲と表音法、連鎖
- Patches; パッチス
- DSP synthesis; 総合
- Use of computer music hardware
- Use of computers, keyboards, MIDI interfaces
- Other links
It is important to exploit music and sound as a full partner in
computer-human interfaces. To explore this potential we must
explore audio analogs to visual modes of expression and also
develop expressive models unique to audio. This SCCP
fills a gap in the multimedia/human factors curriculum,
simultaneously exploring issues in sound as well as computer tools
available to manipulate sound and music.
maintained (loosely) by
Michael Cohen
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