Year: 2008
-
(compMus2) Friday Classes
Remember, Friday classes (both sections) on 10/09/08 will not meet. Instead, go to the concert in Sursa that starts at 10 am. The entire concert will involve pieces with technology. Come at 10, or whenever you can. If you need to leave for an 11 am class, that’s fine.
-
(compMus2) Group Discussion Options
(this came to your bsu email as well) I told everyone in the handout to use the group blog to discuss your projects amongst yourselves. It turns out that groups don’t have blogs. (don’t know why I thought that they did) Groups do have threaded Discussion Forums, though, and I think that these forums should…
-
(compMus2) Project 2 Groups
Groups lists and group names for your soundscape creative project. (I’ll create the group names – you need to join the right group.) email invites to join the social network have already gone out. soundscape-jmk Javier Mercedes Matt McKibble Katie Durham soundscape-kmm Kyle Affolder Matt Suever Megan McDermitt soundscape-tcb Trevor Junga Chris Leonard Brandon Buller…
-
(compMus2 and musTh1) PSA – Register to Vote
Since I brought this up in 111 in the afternoon, but not to my computer music classes, I’m just posting a little info on registering to vote. The deadline to register to vote in Indiana is October 6th. You can go online to either campaign web site for information, or if you prefer a non-partisan…
-
(compMus2) Granular Synthesis Intro
Overview Any sound can be thought of as containing discrete particles, or segments of sound. To make a comparison, granular synthesis is similar to pointallism in visual art. In sound synthesis, grains typically last from 1 ms to 100 ms, although longer grains are possible with some software. Each grain is shaped by an amplitude…
-
(compMus2) Reading
Read pp. 168 – 184 in Roads. Pay particular attention to the parameters of granular synthesis, and higher level control.
-
(musTh1) Chord Spacing in Four-Voice Texture
Chord Spacing Spacing of chord tones applies to the interval distance between the soprano and tenor. Close structure (C): less than one octave between soprano and tenor. In close chord structure, upper voices (S-A-T) will not skip any chord tones from voice to voice. Open structure (O): more than one octave between soprano and tenor.…
-
(musTh1) Musical Texture
Musical Texture is the interaction between separate voice parts in music. We define three basic categories of musical texture: monophonic, homophonic, and contrapuntal. Monophonic textures are the least used in common practice ensemble music. To be monophonic, a texture must be comprised of either a single voice, multiple voices playing in unison, or multiple voices…
-
(musTh1) Homework: Texture and Chord Spacing
Due Wednesday 10/1 wkbk pp. 35 – 40; 1 – 3, 5 be sure to pay attention to spacing and doubling instructions in number 5
-
(musTh1) Melodic Reductive Analysis
Some basic tips for doing a reductive melodic analysis: The basic principle underlying reductive analysis of melodies is that step-wise motion provides a structural framework for almost all common practice tonal melodies. Reductive analysis seeks to illustrate this step-wise framework that connects the beginning of a melodic phrase with its melodic cadence. To begin a…