Author: Keith Kothman
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(compMus1) Modulation Synthesis
General Modulation synthesis uses the output of one oscillator (operating at an audio rate) to change (modulate) some parameter of another oscillator. The oscillator that is having its parameter changed is referred to as the carrier. The oscillator that is affecting the parameter change is referred to as the modulator. In general, modulation synthesis will…
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(compMus1) Quiz 3/Listening List 3 update
Quiz 3 will be Tuesday, April 17th. It will cover Analog Synthesis and Listening. Listening List 3: Michel Chion: Requiem, Dies Irae (1973) John Chowning: Stria (1978) Steve Reich: Come Out (1966) Terry Riley: A Rainbow in Curved Air (1967) Morton Subotnick: Silver Apples of the Moon (1968) mp3’s of the pieces are now available…
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(compMus1) Brief Overview of Reason and the SubTractor Analog Synth
Reason [Documentation for Reason is located on the musictechxserve, manuals volume.] Reason uses the visual or organizational metaphor of a rack filled with audio equipment (synthesizers, samplers, sequencers, reverb units, mixers, etc.). Before you begin, make sure that Reason’s Preferences are set to use the audio interface of your choice, and that the Control Surfaces…
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(compMus1) More Analog Synthesis, LFO's and Filters
LFO (Low Frequency Oscillator): an oscillator that is optimized to generate sub-audio-rate waveforms, generally from 0 Hz to ~35 Hz (slightly above audio threshold). Used for modulating parameters of other generators or processors. Filter: Any device designed for the purpose of boosting and/or cutting frequencies within specified frequency ranges. What to Know About Filters (for…
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(musicTheory2) Lecture Notes: Harmonic Sequences of 7th chords, Ch. 23
Using 7th chords as part of a harmonic sequence brings up a few things to remember: If all the chords are 7th chords, then the sequence will almost always be by descending fifths. If the texture is 4 voices, then successive 7th chords will have to alternate between being Complete and Incomplete (fifth omitted). Always…
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(compMus1) Intro to Analog Synthesis
Just an outline of highlights from today’s lecture – look at the readings for more in-depth reference. Analog Synthesis and the Classical Electronic Studio General Time period: 1950s – early 80s Analog synthesis: generates/modifies electrical signals that fluctuate in an analogous (similar) manner to air pressure fluctuations. Voltage Control Modular Synthesis Categories of Equipment in…
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(compMus1) Analog Synthesis Readings:
Two reference sources that you should start reading: Jeff Haas’s Introduction to Computer Music: Vol. 1. Chapter 4 deals with Analog synthesis. Jeff Stolet’s Electronic Music Interactive. Read the following sections: Foundation of Electronic Music; The Electronic Music System; and Bringing the Pieces Together. Make sure that you understand the different waveforms that oscillators produce,…
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(musicTheory2) Lecture Notes: Modulation to [V] and [III], Chapter 22
Gauldin lists tonicizations by strength: tonicization transient modulation modulation In Chapter 22, we’re concerned with modulations – particularly to the key of the Dominant (when starting in a major key), and to the relative minor when starting in minor. To call something a true modulation, the passage typically needs to include a cadence, and last…
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(musicTheory2) Assignment: Ch. 22, Modulation 2
p. 189, 4 B and C pp. 191 – 2, 6 A (answer two questions on 191; Don’t do the reduction) due: 3/26