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General Points re: EAMT 203 Tutorial Outline

General Points re: EAMT 203 Tutorial Outline. My e-mail: mikep@alcor.concordia.ca Consult the class web page for documents, assignment explanations, course notes, and other info pertaining to the EAMT 203 tutorials: http://alcor.concordia.ca/~mikep/eamt203

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General Points re: EAMT 203 Tutorial Outline

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  1. General Points re: EAMT 203 Tutorial Outline • My e-mail: • mikep@alcor.concordia.ca • Consult the class web page for documents, assignment explanations, course notes, and other info pertaining to the EAMT 203 tutorials: • http://alcor.concordia.ca/~mikep/eamt203 • The tutorial schedule as well as portfolio guidelines are already posted there, and the Powerpoint presentations I use in class will soon be as well. • Help is given in tutorials for two major assignments in the lecture portion of the course • Listening assignment • Concert report assignment • These assignments are marked by the lecture professor • For the tutorial grade, participation in the form of in-class playing & discussion of work and in-class presentations is vital, as is attendance.

  2. Technical / Software Dimension of EAMT 203 • Acknowledge that experience in sound editing & sound montage software is more and more common • No particular software editor, sequencer, etc. is therefore absolutely required in the course • HOWEVER, for those who do not have access to their own audio editing & montage software, and to facilitate communication between students & professor in composition techniques workshops, basic instruction is given in Peak and Soundmaker (advanced audio editor-processors) as well as Deck (audio montage editor) to provide useful & necessary tools for composition and consultations (Weeks 3, 4, 6, 7, 8 and 9 in MacLab). • Who has laptops with audio software? Please bring them to the techniques labs, along with headphones. [Review syllabus] Technical assistance is available all year on an ad hoc basis from the Music Department’s studio assistant, Colin de la Plante. Contact him to set up a time, preferably in small groups, at: moleofsoul@yahoo.ca

  3. Sonogram colors show intensity of spectral elements: Softest Loudest 20kHz Sonogram height shows frequency of spectral elements: 10kHz Sonogram L-R axis shows time placement of spectral elements: 5kHz 1kHz 500Hz 200Hz 20Hz Spectrum Analysis: sonogram/spectrograms Musical example: excerpts fromDebussy, Prélude à l’après-midi d’un faune 1

  4. Sonogram colors show intensity of spectral elements: Softest Loudest Spectrum analysis (sonogram/spectrograms) 20kHz 10kHz 5kHz 1kHz 500Hz 200Hz 20Hz 2 EA example

  5. Spectrum analysis (sonogram/spectrograms) Everyone should have their own (or have access to) Sonogram/Spectrogram software: FREE option: Sonic Visualizer (cross-platform; download from www.sonicvisualizer.org)

  6. Spectrum analysis (sonogram/spectrograms) Everyone must have their own (or have access to) Sonogram/Spectrogram software: FREE option: Sonic Visualizer (cross-platform; download from sonicvisualizer.com Small learning curve - only learn necessary commands / menus, e.g.: • Other options: • - [MAC] Amadeus II or Amadeus PRO • includes audio editor (PRO is multitrack) as well as sonogram analysis; as little as $30 U.S. • [PC] several shareware, freeware and inexpensive possibilities; • input search words ‘spectral analysis software’ or ‘spectrogram software’

  7. Lower amplitude (softer) parts of the sound Higher amplitude (louder) parts of the sound The horizontal axis of an oscillogram represents the timelineover which the pressure wave plays out Amplitude and loudness The vertical axis of an oscillogram represents the amplitudeor force of the pressure wave (Beginning / earlier part of sound) (End / later part of sound)

  8. In amplitude terms, around -1 dB In amplitude terms, around -12 dB In terms of loudness, difference soundsa bit less dramatic Amplitude and loudness EA example: Musical example: excerpts fromRavel, Boléro 3 4

  9. Sound A Sound B Frequency - pitched & unpitched sounds Certain sounds, like the notes produced by musical instruments, have what is referred to as pitch Pitches are more neatly organized compared to other sounds, consisting of stable frequencies that reinforce one another because of being mathematically related in a simple way. Again, a zoomed-out oscillogram does not tell us whether a sound is pitched or unpitched: All we know is that the first sound has sharp attack, andthen a consistent decay… …and that the second sound has several peaks before decaying

  10. Sonogram A: Harmonicmultiples of the fundamental Fundamentalfrequency Sonogram B: Thick clustersof partials not reinforcing anyparticular frequency Frequency - pitched & unpitched sounds But a look at the sonograms for the two sounds immediately reveals which is a stable, organized pitch, and which isn’t:

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