In this course, students learn innovative production, remixing, and compositional uses of new spectral and time-based digital signal processing techniques. Students will use, adapt, and mutate sounds in unique and unusual ways that are fresh, new, and ideal for a variety of professional sound design projects. Students will also use these new spectral tools to compose and produce in a variety of musical styles from cutting-edge, DSP-based audio art to innovative pop songs.
A practical exploration of digital signal processing music and sound design projects, including composition, remixing, and mastering, with emphasis on key techniques of DSP and their applications in audio production. The class explores the implementation and application of common DSP functions in software applications, and how they are effectively applied in these projects.
This class provides the student with an opportunity to create visual projections for their original compositions using MAX/MSP/Jitter and other programs as needed. We will study a variety of approaches to creating interactive video for music performance, installation, and net-art works. Students will then create software and art works using audio, video, and various controllers for input. Weekly assignments will include reading, programming projects, and short live performances. The final project can be a performance or installation using original software.
An exploration of excitation/resonance models of sound production: Karplus-Strong (string), brass, and woodwind modeling using digital signal processing in a dedicated hardware environment; use of software-based modeling for pedagogical purposes; exploration of Fourier or additive synthesis and formant theory in a hardware environment.
In this course, students are introduced to a diverse collection of electroacoustic and acousmatic computer music masterpieces. Based on the formal analysis of these works, the student will compose a set of pieces in the following genres: musique concrète, dark ambient, minimal, drone, glitch, sound mass, sound object, soundscape, and sound collage. Through listening, musical analysis, and modeling, each student will come to better understand the creative process for developing uniquely electronic work, and through this, discover and cultivate a more original musical voice.
This course focuses on production of the capstone Electronic Production and Design project and provides for individual attention within a small group setting. The specific nature of the project will be determined by written agreement between student and instructor. Each student will also be required to participate in the jury process as well as the Senior Showcase at the end of the semester.
Monitored and evaluated professional work experience in an environment related to the electronic production and design major. Placement is limited to situations available from or approved by the Office of Experiential Learning and the Electronic Production and Design department chair or designee. To apply for an internship, students must see the internship coordinator in the Office of Experiential Learning prior to registering. Note: Equivalent credit for prior experience is not available due to the requirement of concurrent contract between the employer/supervisor and the college. International students in F-1 status must obtain authorization on their Form I-20 from the Counseling and Advising Center prior to beginning an internship.
In this class, students will collaborate to compose and perform original interactive multimedia works that explore and showcase many of the new possibilities created by mobile devices and wireless networks. They will learn to design and program custom performance interfaces for the iPad and use it in a performance, thus demonstrating it to be a clear, direct, powerful, versatile, and truly expressive musical controller. The students will form and perform in unique combinations and explore and define novel symbiotic roles and radically new music-making and sound-producing paradigms.
This course explores the creation of sound effects for linear and interactive media using real time synthesis models and prototypes. Through the use of techniques ranging from subtractive synthesis to physical modeling students will gain a better understanding of the physical and acoustics of various types of common sound effects. Students will build audio models and sound effect engines using real time tools such as MAX as well as software synthesizers such as Sculpture. Throughout the course, students will also work with a number of DAWs and audio implementation tools such as Wwise and Fmod Studio, producing sound designs for both linear and interactive media.
In this class students will learn to use the Apple XCode IDE and the iOS SDK to develop synthesis, signal processing, and MIDI apps for the iPad. The C programming language will be reviewed, and Objective-C will be introduced. iOS programming will be done with the Cocoa API and the Cocoa Touch frameworks. Basic audio and MIDI programming will be done using Apple's Core Audio and CoreMIDI framework. Advanced audio and MIDI will be programmed using the Csound for iOS SDK, an iOS wrapper for the Csound API. In addition, students will learn to work with the Git version control system and will join the iOS Developer Program and learn to distribute their iPad apps on the Apple App Store.
This course offers students interested in the practical application of sound design techniques in a post production environment the opportunity to work collaboratively with student film composers on real-world projects. Students in this class will work with all non-music aspects of film sound including dialog, ambience, foley, and sound effects. Special emphasis will be placed on finding creative solutions to post production challenges as well and the interrelationship of music and sound design. Work for the course will include one project using an existing cut scene from a major release and a second project that will be a student film from a local college. Lectures and discussions will cover analysis techniques, and work flow examples, and in-depth critiques of work in progress. The class will meet concurrently with FS-481, Film Scoring Practicum, and combined class meetings will be held throughout the semester.