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Comp342 Computer Music

Comp342 Computer Music. Course Objectives. Course Objectives. 1. General Appreciation 1.1. Have a general appreciation of the use of music in computer applications 2. Music Theory and Acoustics Based Skills

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Comp342 Computer Music

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  1. Comp342Computer Music Course Objectives

  2. Course Objectives • 1. General Appreciation • 1.1. Have a general appreciation of the use of music in computer applications • 2. Music Theory and Acoustics Based Skills • 2.1. Understand the basics of common practice music notation, including pitch, rhythm, and dynamics • 2.2. Be able to translate common practice music notation into computer music languages such as Csound • 2.3. Understand the basics of musical acoustics, including vibration and harmonic series

  3. Course Objectives • 3. Sound Analysis Based Skills • 3.1. Have a working knowledge of spectrum analysis, including the phase vocoder • 3.2. Understand how to analyze the frequency content of a sound with applications such as Spectrogram and PVan

  4. Course Objectives • 4. Sound Synthesis Based Skills • 4.1. Have a working knowledge of the most common sound synthesis methods, including additive, wavetable, FM, and sampling synthesis • 4.2. Understand how to implement these synthesis methods in computer music languages such as Csound • 4.3. Develop instrument designs for acoustic music instruments in computer music languages such as Csound

  5. Course Objectives • 5. Sound Effects Based Skills • 5.1. Have a working knowledge of the most common sound effects, including echo and reverberation • 5.2. Understand how to implement these effects in computer music languages such as Csound • 5.3. Apply these effects to different types of sounds and understand how they modify the sound

  6. Comp342Computer Music

  7. Recommended Books: • Computer Music by Charles Dodge & T. Jerse, Schirmer Books, 2nd Edition, 1997. • The Computer Music Tutorial by Curtis Roads • Cooking with Csound Part 1: Woodwind and Brass Recipes by Andrew Horner and Lydia Ayers, A-R Editions, 2002

  8. Computer Music • An interdisciplinary field including • Music • Computer Science • Electrical Engineering (signal processing) • Physics (musical acoustics) • Psychology (psychoacoustics, music perception)

  9. Computer Music Areas(possible Projects & Presentations) • Signal Processing • Sound Analysis and Resynthesis • Physical Modeling of Musical Instruments • Musical Effects • 3D Spatialization • Audio Coding and Compression • Audio Signal Separation • Music Signal Pitch Detection • AI • Machine Recognition of Audio and Music • Musical Instrument Recognition • Music Perception and Cognition • Psychoacoustics • AI and Music

  10. Computer Music Areas (possible Projects & Presentations) • Software • Music Visualization • Music Composition Systems and Tools • Music Programming Languages • Algorithmic Composition • Music Notation and Printing • Music on the Internet • Music in Computer Games • Sound Effects in Computer Games • Computer Music and Digital Art • Database • Music Information Retrieval • Musical Informatics • Music Databases

  11. Computer Music Areas (possible Projects & Presentations) • Computer Engineering • Audio Hardware • Music Performance Interfaces (new musical instruments) • Interactive Performance Systems • Real Time Performance Systems • Music Workstations • Soundcards • Music Synthesizers • Music and Audio on Mobile Phones • Wireless Audio Systems • Music Networks • MIDI

  12. Computer Music Areas (possible Projects & Presentations) • Theory/Science • Music Data Structures and Representation • Musical Tuning and Intonation • Music Grammars • Musical Acoustics • Acoustics of Musical Instruments and the Voice • You are welcome to propose your own topic that includes music and technology

  13. COMP342 Project & Presentation • For the comp342 project, you will devise, implement, and document your own computer music application. • You will choose your own topic that includes computers and music. • The list in the previous slides (4-7) will give you some project ideas. • The reference books on slide 2 are good for details (especially "Computer Music Tutorial"). • The tentative format for the project is the following: • 10-minute presentation (like short conference presentation, or my lectures) • 5-minutes for Q&A (while the next group sets up) • You will turn in a softcopy of your PowerPoint notes • You will also turn in a short paper (4 pages) summarizing your presentation • You will work in groups of normally 4 people

  14. COMPUTER 2. COMPOSER SCORE 3. PERFORMER MUSIC 4. LISTENER Who Makes Computer Music? • The 4-person model for computer music: 1. RESEARCHER/ PROGRAMMER

  15. Brief Overview of Computer Music History

  16. Computer Music History • Pre-history • Harmonium (1900) • Electric organ • Musak (background music in shops) • 1930’s • Ondes Martenot • Theremin

  17. Computer Music History • Ondes Martenot • An early electroacoustic instrument developed by Maurice Martenot • Includes: • 2 oscillators • 3 loudspeakers • An oscillating Chinese gong • A spring reverb unit and sympathetic strings) • A small keyboard which provides vibrato and a wide range of sliding tones. • [6] Example: Olivier Messaien, Oraison (1937)

  18. Computer Music History • <C:2>Theremin • Real-time instrument • Radio antennas used to control pitch and amplitude • Difficult to control, but sounded voice-like in the hands of an expert

  19. Computer Music History • 1940’s WWII • Tape recorder • Computers • Radio • 1950’s • RCA Synthesizer • Speech processing • Bell Labs • LPC

  20. Computer Music History <C:1> Soundtrack to Forbidden Planet by Louis and Bebe Barron

  21. Computer Music History • 1960’s Analog Synthesizers • Arp 2500 & 2600 • Famous pop musicians started using synthesizers • Who • Emerson, Lake, Power - ELP • Monophonic • 1970’s Fancier Analog Synthesizers • Moog, Buchla, Korg • Polyphonic [2-3 voices] • Wendy Carlos - Switched On Bach • Software synthesis • VAX780 Computer • MIT • Stanford

  22. Computer Music History • Buchla synthesizer • Manipulate sounds by turning knobs • Synthesizer didn't have memory, so everything had to be recorded on analog tape • It took a long time to set up the patch chords before hearing any sound

  23. Computer Music History • 1980’s Digital Synthesizer • Yamaha DX – 7 • FM synthesis • MIDI – communication protocol for synthesizers • Polyphonic [8-16 voices] • Software synthesis • Computers: Macs & PC with soundcards • 1990’s Soundcards • Sampling synthesis • Polyphonic [32-64 voices]

  24. Computer Music Now • Software synthesis on computers • Hardware • Synthesizers • Soundcards • Portable devices • CDs, DAT tapes, and minidisks for storing soundfiles • <C:3>Interactive body synthesizers

  25. What Can a Computer Do? • Synthesize sounds • [7]Synthesized sounds can resemble familiar sounds or they can sound artificial • Transform one sound into another, such as [8]a horn into an oboe

  26. What Can a Computer Do? • Create the space where sounds move around more easily than human performers • [9]Spatialization of opening bassoon solo in Stravinsky's The Rite of Spring

  27. What Can a Computer Do? • Process sampled sounds using effects • [11]Transposition • [12]Time stretching • [13]Echo • [14]Ring modulation • in a musical [15]collage • A picture made with materials and objects ... • [10]Sample sounds • pasted on a surface

  28. Synthesizing Sounds • Csound • A computer music language • Makes a soundfile by compiling a score and orchestra file • The result is large binary file which the computer plays as a "soundfile" • similar to playing a CD • .wav file

  29. Making a Soundfilefrom Csound

  30. A Simple Csound Orchestra ;simple.orc ; name of orchestra ;CODE on left ; COMMENTS on right sr=22050 ; sampling rate kr=2205 ; control rate ksmps=10 ; samples/control per. nchnls=1 ; 1 channel playback instr 1 ; beginning of instr. iamp = p4 ; maximum amplitude ifreq = p5 ; frequency in Hertz iwave = 1 ; use wavetable 1 asig oscili iamp, ifreq, iwave ; generate signal out asig ; output signal endin ; end of instrument

  31. [16]A Simple Csound Score ;simple.sco - use with simple.orc ; name of score ;function table for waveform for sinewave oscillator f1 0 4096 10 1 ;p1 p2 p3 p4 p5 ; start dur amp Hertz i1 1 2 4000 440 ; note statement e ; end of score

  32. Many Ways to Process Sounds • Time stretching • Stretch and compress sounds • Make them longer or shorter than their original durations • Requires running a sound analysis program on the sample which may leave the file full of pops and clicks • Some files require considerable "clean-up" work • Too much fixing may change the sound dramatically, resulting in either a nice feature or a disaster

  33. Many Ways to Process Sounds • Controlling timbre (quality of sound) • [19] Leaving the pops and crackling in the stretched sound made a professional singer sound like a witch • [20]Transposing the pitch of a witch up and down produces glottal clicks and chattering sounds

  34. Examples of Instrument Modeling • [25] voices — composition program by Chui Lok Sum Rod, Chan Ka Lok Carl and Leung Kin Lung Lone (0:50) • [26] voices — Bach, Jesus Bleibet Meine Freude — class project by Chan Yu Hong, Yeung Kwun and Chow Tsz Ho (2:20) • [27] voices — Vivaldi, Laudamus te — class project by Lo Hoi Yee, Janice and Chan Wai Yi (1:30) • [28] voices — Palestrina, Sanctus — class project by Leung Chun Fai, Kevin and Wong Chung Ling, Iris (2:03)

  35. Examples of Instrument Modeling • [29] French horn — Richard Strauss, Til Eulenspiegel's Merry Pranks (:09) • [2] French horn — Richard Strauss, Ein Heldenleben (:29) • [5] Chinese Dizi — Liuban (:32) Andrew Horner

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