Textbooks
[Collins] =
Collins, N. Handmade Electronic Music: The Art of Hardware Hacking. 2nd ed. New York, NY: Routledge/Taylor & Francis, 2009. ISBN: 9780415998734. [Preview in Google Books]
Recording Compilations
[OHM] =
OHM: The Early Gurus of Electronic Music, 1948-1980. Ellipsis Arts 3CD+DVD, 2005 (reissue).
| SES # | TOPICS | READINGS | LISTENING |
|---|---|---|---|
| 1 | Foundations: Live Electronics | ||
| 2 | Foundations: Sounds, Signals, Samples, and Encodings |
Wang, G. "A History of Programming and Music." In The Cambridge Companion to Electronic Music. Edited by N. Collins, and J. d'Escriván. Cambridge University Press, 2007, pp. 55-71. ISBN: 9780521868617. [Preview with Google Books]Puckette, M. "Max at 17." Computer Music Journal 26, no. 4 (2002): pp. 31-43. [Read just pp. 31-37, 39-40, 42] | Schaeffer, Pierre. "Cinq Etudes De Bruits: Etude Violette" (1948) and "Etude aux objets, 2. Objets étendus" (1959). Pierre Schaeffer: L'oeuvre musicale. INA GRM, 1990. Cage, John. Williams Mix (1952). On [OHM]. Oswald, John. "Dab." Plunderphonics 69/96. Seeland/Fony, 1989. |
| 3 | Foundations: Envelopes, Filters, Modulation, and Mixing |
Tanaka, A. "Sensor-Based Musical Instruments and Interactive Music." Chapter 12 in The Oxford Handbook of Computer Music. Edited by R. T. Dean. Oxford University Press, 2009. ISBN: 9780195331615. [Read just pp. 233-243.] [Preview with Google Books] |
|
| 4 | Foundations: Managing Events, Signals, and Data | Ryan, J. "Some Remarks on Musical Instrument Design at STEIM." Contemporary Music Review 6, no. 1 (1991): pp. 3-17. |
|
| 5 | Workshop: Performance and Improvisation | Cook, P. "Principles for designing computer music controllers." Proceedings of the 2001 Conference on New Interfaces for Musical Expression. National University of Singapore, 2001. ( PDF) Trueman, D. "Why a Laptop Orchestra?" Organised Sound 12, no. 2 (2007): 171-179. ( PDF)
|
SuperSilent. "5.1." SuperSilent 5. Rune Grammofon, 2001. ———. "6.2." SuperSilent 6. Rune Grammofon, 2003. |
| 6 | Foundations: Processing and Transforming Sounds | Wanderley, M. M., and N. Orio. "Evaluation of Input Devices for Musical Expression: Borrowing Tools from HCI." Computer Music Journal 26, no. 3 (2002): 62-76. |
Musica Elettronica Viva (MEV)."Spacecraft" (1967). MEV 40 (1967-2007). New World Records, 2008.AMM. "The Great Hall 1" (1982). Laminal. Matchless, 1997. |
| 7 | Workshop: Performance and Improvisation |
Holmes, T. "Live Electronic Music and Ambient Music." Chapter 15 in Electronic and Experimental Music. 3rd ed. Routledge, 2008, pp. 376-406. ISBN: 9780415957823. [Preview in Google Books] | Cage, John. "Imaginary Landscape No. 1" (1939). ———. "Cartridge Music" (1960). Music for Merce Cunningham. Mode, 1995. |
| 8 | Practices: The Early History of Live Electronics | Gresham-Lancaster, S. "The Aesthetics and History of the Hub: The Effects of Changing Technology on Network Computer Music." Leonardo Music Journal 8 (1998): 39-44. |
Oliveros, Pauline, and David Tudor. "Applebox Double." Music from the ONCE Festival, 1961-1966. New World Records, 2003. League of Automatic Composers. "Oakland One." League of Automatic Music Composers 1978-1983. New World Records, 2007. The Hub. "Peyote." Boundary Layer. Tzadik, 2007. |
| 9 | Practices: Extending Common Physical Controllers |
Perkis, T. "Some Notes on My Electronic Improvisation Practices." Chapter 8 in The Oxford Handbook of Computer Music. Edited by R. T. Dean. Oxford University Press, 2009, pp. 161-166. ISBN: 9780195331615. [Preview with Google Books] Fiebrink, R., G. Wang, and P. Cook. "Don't Forget the Laptop: Using Native Input Capabilities for Expressive Musical Control." Proceedings of the 2001 Conference on New Interfaces for Musical Expression. National University of Singapore, 2001, pp. 164-167. ( PDF) |
The Hub. "Cut to Ribbons." Boundary Layer. Tzadik, 2007. Kid Koala. "Like Irregular Chickens." Carpal Tunnel Syndrome. Ninja Tune, 2000. D-Styles. "Felonius Funk." Phantazmagorea. Red Rocket, 2002. |
| 10 | Workshop: Performance and Improvisation | Kuivila, R. "Open Sources: Words, Circuits and the Notation-Realization in the Music of David Tudor." Leonardo Music Journal 14 (2004): 17-23. [Alternate source, 2001 conference version ( PDF)] Driscoll, J., and M. Rogalsky. "David Tudor's 'Rainforest': An Evolving Exploration of Resonance." Leonardo Music Journal 14 (2004): 25-30. |
Tudor, David. "Rainforest" (1973). David Tudor & Gordon Mumma. New World Records, 2006.
———. "Pulsers" (1976), with Takehisa Kosugi. Three works for live electronics. Lovely Music, 1996.———. "Toneburst" (1975). CD accompanying Leonardo Music Journal, v. 14. 2004. |
| 11 | Practices: Touch Interfaces and OpenSoundControl | Wright, M. "Open Sound Control: an enabling technology for musical networking." Organised Sound 10, no. 3 (2005): 193-200. |
Ikeda, Ryoji. "data.syntax" and "data.reflex." Dataplex. Raster-Noton, 2006. |
| 12 | Practices: Laptops and Laptop Orchestras | Smallwood, S., et al. "Composing for Laptop Orchestra." Computer Music Journal 32, no. 1 (2008): 9-25. |
Zorn, John. "Uluwati" and "Tamangiri." Cobra: John Zorn’s Game Pieces Vol. 2. Tzadik, 2002. |
| 13 | Workshop: Performance and Improvisation | [Collins] "Part II: Listening" except II.6 and II.10 (pp. 11-26, 31-63) | |
| 14 | Practices: Analog Electronics and Circuit Bending | Ghazala, Q. R. "The Folk Music of Chance Electronics: Circuit-Bending the Modern Coconut." Leonardo Music Journal 14, no. 1 (2004): 97-104. [Collins] "Part III: Touching," III.11 through III.15 (pp. 73-112) |
Selections from CD accompanying [Collins] text:
|
| 15 | Practices: Electronics and Sensors |
Tanaka, A. "Sensor-Based Musical Instruments and Interactive Music." Chapter 12 in The Oxford Handbook of Computer Music. Edited by R. T. Dean. Oxford University Press, 2009, read just pp. 243-257. ISBN: 9780195331615. [Preview with Google Books] |
Atau Tanaka/Sensorband. "Sensorband." Power and Responsibility: Converted to Streaming Between Machines. Leonardo Music Journal CD Series, v. 9 (1999).v2unstable. "Sensorband Performance (DEAF96)." November 12, 2010. YouTube. Accessed August 16, 2011. http://www.youtube.com/watch?v=XLSoPmY6jGM BKeeperSystem. "Atau Tanaka at the Luminaire." December 19, 2008. YouTube. Accessed August 16, 2011. http://www.youtube.com/watch?v=FB_yE_Y3_8k |
| 16 | Workshop: Performance and Improvisation | [Collins] "The World’s Simplest Circuit: Six Oscillators on a Chip, Guaranteed to Work," pp. 129-145. [Collins] "Getting Messy: Oscillators that Modulate Each Other, Feedback Loops, Theremins, Tone Controls, Instability, Clocks for Toys, Crickets," pp. 152-167. | |
| 17 | Practices: Approaches to Composing Improvisations | Dennis, B. "Cardew’s 'Treatise' (Mainly the Visual Aspects)." Tempo 177 (1991): 10-16. |
Cardew, Cornelius. "Paragraph 2." Cardew: The Great Learning / Bedford: Two Poems for Chorus on Words. The Scratch Orchestra; Cornelius Cardew, conductor; 1971 performance. Deutsche Grammophon, 2002.———. "Treatise." Cornelius Cardew — Memorial Concert (1985). [Download from UbuWeb Sound] |
| 18 | Practices: Timing and Networking | Rebelo, P., and A. Renaud. 2006. "The Frequencyliator—Distributing Structures for Networked Laptop Improvisation." Proceedings of New Interfaces for Musical Expression: Network Performance (NIME 06). Paris, France. pp. 53-56. ( PDF) |
Kioku. "Pinari." Both Far and Near. Quiet Design Records, 2007. [Audio and video clips available at Kioku | Multimedia]Ariza, C. Pulsefact. |
| 19 | Workshop: Performance and Improvisation | Cascone, K. "Grain, Sequence, System [Three Levels of Reception in the Performance of Laptop Music]." Intelligent Agent 4, no. 1 (2004). | Cascone, Kim. "Dust Theories 2: Alchemical Residue." Musicworks CD 82, 2001. |
| 20 | Workshop: Performance and Improvisation | ||
| 21 | Practices: Novel and Custom Interfaces | [Collins] "The Future is Now," pp. 276-296. Weinberg, G. "Playpens, Fireflies, and Squeezables: New Musical Instruments for Bridging the Thoughtful and the Joyful." Leonardo Music Journal 12 (2002): 43-51
| Video of performance of Gil Weinberg's Nerve, for 8 Beatbugs Georgia Tech Center for Music Technology. "Nerve Beatbugs in Concert and Workshop." YouTube. July 8, 2010. |
| 22 | Workshop: Performance and Improvisation | ||
| 23 | Practices: Live Coding, Live Algorithms, and Generative Techniques | Collins, N., et al. "Live Coding in Laptop Performance." Organized Sound 8 (2003): 321-330. Brown, A. R., and A. Sorensen. "Interacting with Generative Music through Live Coding." Contemporary Music Review 28, no. 1 (2009): 17-29. | |
| 24 | Class concert performance | ||
| 25 | Design 2 Presentations | ||
| 26 | Design 2 Presentations & final performances |

