Remember, as listed in the syllabus, that you are expected to attend EM concerts.

• Michel Chion: Requiem, Dies Irae (1973)
• John Chowning: Stria (1978)
• Brian Eno: Unfamiliar Wind (Leeks Hills) (1978 – 1982)
  
• Paul Lansky: Six Fantasies on a Poem by Thomas Campion, Her Reflection and Her Ritual (1978 – 1979). There are two separate tracks, but you only need to identify either as being part of the whole work (not by movement title).
  
• Pauline Oliveros: Bye Bye Butterfly (1965)
  
• Steve Reich: Come Out (1966)
• Terry Riley: A Rainbow in Curved Air (1967), the first 8 minutes.
  
• Laurie Spiegel: Appalachian Grove I (1974)
  
• Karlheinz Stockhausen: Kontakte (1958 – 1960)
  
• Morton Subotnick: Silver Apples of the Moon (1968)

Read all of Chapter 1 in E/E, and answer the following questions:

1. How did Gray’s Musical Telegraph create sound vibrations? (What initiated the vibration, and what vibrated?
2. What was the title of the important book on sound that Helmholtz published in 1863, and how did he demonstrate the production of complex tones?
3. How did Cahill’s Telharmonium produce sound vibrations? His business plan for transmitting live music directly into homes and businesses foreshadowed what later industries?
4. What were the significant drawbacks of the Telharmonium that led to its demise.
5. Futurists’ calls for militancy in art can be seen as anticipating what later political movement (or form of government).
6. Name the author and year for The Art of Noise.
7. What is the function of a vacuum tube, and why is it important for electronic music.
8. When was the Theremin invented? And why was John Cage so upset with the typical Theremin performer? (just a little, not the whole paragraph)
9. How was pitch controlled on the Ondes Martenot?
10. How was the Hammond organ similar to the Telharmonium?
11. What was radical about the Trautonium?
12. Where was the tape recorder developed, and when did it become more widely available? (Any thoughts about why it wasn’t widely available before this date?)

On p. 198, you only need to understand what the sub-audio control rates produce with Amplitude Modulation and Frequency Modulation.

There are no questions associated with the reading assignment, but the reading covers concepts that will be on the next quiz.  I will be lecturing on Envelopes, Filters, and sub-audio Modulation in tomorrow’s class (2/19), before diving in to programming the NN-XT sampler.

Files are available here (with all information included).

• Karlheinz Stockhausen: Gesang der Junglinge (Song of the Youth), 1955 – 56
• Luciano Berio: Thema – Omaggio a Joyce, 1958
• Joji Yuasa: Projection Esemplastic for White Noise, 1964
• Vladimir Ussachevsky: Of Wood and Brass, 1965
• Mario Davidovsky: Synchronism No. 6, 1970
• Iannis Xenakis: Mycenae Alpha, 1978

To continue your fun of connecting the world with MIDI, this assignment requires you to connect Digital Performer and Reason, using DP as a control device to send MIDI to Reason, and using DP to route and playback digital audio from Reason. This assignment post will link to more detailed explanations of Reason and Rewire as I post them.

• Open Digital Performer, and create a new project. Save it as yourname_MIDI_2.
• Open Reason. It will launch in Rewire Slave Mode. Audio output is controlled by DP.
• In Reason, create two devices (instruments) in your rack (samplers are good, the NN-XT Advanced and NN19 Digital), and connect their outputs to channels 1-2 and 3-4, respectively, of the audio interface. (Tab to flip the rack around.) Don’t use a mixer in Reason.
• Still in Reason, select the device tracks in the sequencer, and choose Delete Tracks from the Edit menu (not Delete Tracks and Devices). You don’t want Reason to listen to MIDI input on its own (separate from DP).
• Go back to DP. Change the input for a stereo audio track to Reason:Mix L 1- Mix R 2. This will connect the audio output from Reason channels 1 and 2 (your first instrument) to this audio track in DP. Record enable and Monitor enable this track.
• Change the input for another stereo audio track to Reason:Channel 3-4. This will connect the audio output from Reason channels 3 and 4 (your second instrument) to this audio track in DP. Record enable and monitor enable this track.
• Set the output for a MIDI track to your first instrument in Reason. In the pop up menu look for Reason: bus 6 ->, and choose the device by name from the subsequent branch menu. Record enable this MIDI track, play some notes on your MIDI keyboard, and listen for audio output. Troubleshoot if necessary (re-read above steps).
• Set the output for another MIDI track to your second instrument in Reason. Record enable this track, play some notes, and listen for output. This should be a different sound than triggered by the first MIDI track, and it should create audio output to a different audio track.
• Record some MIDI information on your first track. Use this MIDI to record audio on the appropriate audio track. (Note: this can be done in one pass, with both the MIDI track and audio track record enabled. You do not need to use Bus input to audio tracks when using Reason.)
• Repeat the previous step with your second MIDI track.
• Turn in the DP project folder to my drop box.

• Open a new DP project. Save it as <yourname_MIDI_1>
• Create an instrument track using the nanosampler as your instrument.
• Load any sample into the nanosampler.
• Assign the output of a MIDI track to the nanosampler. Record on that track MIDI note commands for a one-octave C major scale.
• Assign the audio output of the instrument track to a stereo bus and record the MIDI output to an audio track.
• Save everything.
• Turn your project in to my drop box on the server.

Read pp. 41 – 56 (the beginning of Chapter 2) in E/E, and answer the following questions:

1. Name the two French Pierre’s who helped pioneer the construction of music using sound recording tools.
2. The sound object (l’objet sonore) contains what three dimensions?
3. Why is the idea of the sound object is critically important for composing music concrete?
4. What was the significance of the Etudes de bruits to the second era of electronic music?
5. What did Pierre Henry’s presence bring to Pierre Schaeffer’s studio and work?
6. Schaeffer and Henry had different starting points, or ways that they worked with their recorded sounds. Explain the difference, very briefly.

Use the subject “music concrete” for your email.