Author: Keith Kothman
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(compMus1) Listening List 1 and Quiz Announcement
I’ve gone back and forth about this decision. For the first quiz I will provide lists of work titles, composer names, and years composed. The information will be in three separate lists – not all together by work. It will look something like this, alphabetized by listing, but in three-column format: Composers John Cage Pierre…
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(compMus1) New Reservation Form for Studio 9
Jeff has created a new reservation system for studio 9 (the computer lab – our class room). You CAN reserve individual workstations now, which should help you in completing the first project. Remember, if you reserve workstation or studio time, you are expected to use it. People who continually reserve but do not use their…
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(compMus1) Quiz 1 Review
The first quiz is on 2/5. It should take about 25 minutes, so we will have class following the quiz. From Listening List 1, know title of work, composer’s last name, and year composed. From the Chapter 5 reading, be able to list 3 of the 7 fundamental traits of electronic music, and provide a…
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(compMus1) Essential Concrete Music Techniques
The book outlines five classic techniques for composing concrete music. Four techniques are derived from tape manipulation, and one is an external process. Tape Techniques Tape Splicing: allows for the re-ordering of sounds in time. Tape Echo/Delay: self-explanatory Change of Playback Speed: changes pitch and duration. Reversing of Tape Direction: also changes amplitude envelope. Process…
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(compMus1) Digital Performer Audio Problems
Erica in section 2 ran into a problem over the weekend that completely shuts off digital audio in DP. The fix is easy, but you have to know where to look. If all of your soundbites have red X’s through their wavey handles (~ or double ~’s), then your audio system in DP has been…
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(compMus1) Digital Audio Properties
Digital audio quality is determined by two properties: sampling rate and bit resolution. The sampling rate determines how often amplitude has been measured per second (per channel). The sampling rate determines the highest frequency that can be represented accurately. To get an accurate measurement for a particular frequency, you must measure amplitude at least twice…
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(compMus1) SoundHack and Cecilia Downloading
SoundHack is only available for the Macintosh. I haven’t seen anything like it for Windows. You can get it from www.soundhack.com, in the freeware section, or directly from here. Cecilia is a bit trickier. I’ve posted the mac version on my ilocker account, http://ilocker.bsu.edu/users/kkothman/BSU_SHARED/241/ Get the cecilia2-5.tar file. Online versions may not include the warper…
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(compMus1) Reading Chapter 2
Due Tuesday, 2/3. Read pp. 41 – 56 (the beginning of Chapter 2) in E/E, and answer the following questions: Name the two French Pierre’s who helped pioneer the construction of music using sound recording tools. The sound object (l’objet sonore) contains what three dimensions? Why is the idea of the sound object is critically…
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(compMus1) Publisher Textbook Web Resources
That sound unwieldy. A companion web site for E/E is online at the publisher’s site. http://www.routledge.com/textbooks/9780415957823 So far, I haven’t gotten it to work. But the book promises a glossary, links page, and self-quizzes, among other things.
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(compMus1) Digital Performer Basics
I’m going to keep going over how to use Digital Performer, but for now, some helpful tidbits. Beyond the manual, DP has very useful online help. Under the help menu you can find context sensitive help for the active window, as well as more comprehensive help (Digital Performer Help). You should either read the DP…