Bill Manaris : Fall 2012 / CSCI 180

Computers, Music and Art

Learning Community (LC 8): Computers, Music and Aesthetics

When/Where

MWF 11-11:50PM / CATO 234 (Music)
MWF 12-12:50PM / LONG 221 (Computing)

Description

A course introducing the creative side of computing in the context of music, sounds, images, and other digital artifacts. Emphasis will be given to computing and computational thinking related to music making. Students will develop several digital artifacts and elementary musical compositions.

Course is open to all majors. No previous programming experience required.

Test Dates

Assignments

Homework1, Homework2, Homework3, Homework4, Homework5, Final Project.

Readings & References

  1. Zoe Keating Avant-garde cellist Zoe Keating demonstrates her intricately layered compositions. Using a computer, some 'janky code', a cello and her imagination, the classically trained musician shapes her music into something wonderful.
  2. Pat Metheny's Orchestrion project is a new, open-ended platform for musical composition, improvisation and performance. It uses acoustic and acoustoelectric musical instruments that are mechanically controlled through a guitar, pen or keyboard. This creates a detailed compositional environment, which allows spontaneously developed improvisation. On top of layers of acoustic sound, Pat Metheny adds conventional electric guitar playing as an improvised component - a new level for solo performance by a single musician.
  3. Edwards, Michael. Algorithmic Composition: Computational Thinking in Music. Communications of the ACM, Vol. 54, No. 7, pp. 58-67.
  4. PLOrk The Princeton Laptop Orchestra (PLOrk) is a newly established ensemble of computer-based musical meta-instruments. Each instrument consists of a laptop, a multi-channel hemispherical speaker, and a variety of control devices (keyboards, graphics tablets, sensors, etc.).
  5. Birds on the Wires Birds on the Wires - Reading a newspaper, Jarbas Agnelli saw a picture of birds on the electric wires. He cut out the photo and decided to make a song, using the exact location of the birds as notes...
  6. HARMONIA (3rd Harmonic Resonance) HARMONIA (3rd Harmonic Resonance) - The image and audio are generated by the same algorithmic process, an unfolding of the harmonic series across the course of an hour. Visually, the harmonic series is represented by the division of the circle. Sonically it is represented by a sinewave series built upon a fundamental frequency of 31.7 Hz (ultra-low C).
  7. An introduction to pair programming. This 9-minute video describes what pair programming is, the do's and don'ts of effective pairing, and the pros and cons of pair programming.
  8. Impromptu Impromptu is a Scheme language environment for music composition and real-time performance.
  9. Phonautogram Researchers play song recorded before Edison. The 10-second recording of a singer crooning the folk song “Au Clair de la Lune” was discovered earlier this month in an archive in Paris by a group of American audio historians. It was made, the researchers say, on April 9, 1860, on a phonautograph, a machine designed to record sounds visually, not to play them back. But the phonautograph recording, or phonautogram, was made playable — converted from squiggles on paper to sound — by scientists at the Lawrence Berkeley National Laboratory in Berkeley, Calif.
  10. The reactable hardware is based on a translucent, round multi-touch surface. A camera situated beneath the table, continuously analyzes the surface, tracking the player's finger tips and the nature, position and orientation of physical objects that are distributed on its surface. These objects represent the components of a classic modular synthesizer, the players interact by moving these objects, changing their distance, orientation and the relation to each other. These actions directly control the topological structure and parameters of the sound synthesizer. A projector, also from underneath the table, draws dynamic animations on its surface, providing a visual feedback of the state, the activity and the main characteristics of the sounds produced by the audio synthesizer.
  11. fractals Intro to Fractals from Wikipedia.
  12. Interactive Mandelbrot Set - user interface allows to zoom in at different areas.
  13. Victor Staniosis and Hugh Berberich, "Computer Music - Science and Technology of a New Art", Monograph Series of the Liberal Arts, Dartmouth Electronic Bookshelf.
  14. Phil Burk, Larry Polansky, Douglas Repetto, Mary Roberts, and Dan Rockmore, "Music and Computers", Dartmouth Electronic Bookshelf.
  15. Richards R. (2001), "A New Aesthetic for Environmental Awareness: Chaos Theory, the Beauty of Nature, and our Broader Humanistic Identity". Journal of Humanistic Psychology, Vol. 41, No. 2, pp. 59-95.
  16. Spehar, B., C.W.G. Clifford, B.R. Newell, and R.P. Taylor. (2003). "Universal Aesthetic of Fractals." Computers & Graphics, vol. 27, pp. 813-820.
  17. Chazelle, B. (2006), "Could you iPod be Holding the Greatest Mystery in Modern Science?", Math Horizons, vol 13, April 2006. Algorithmic thinking is likely to cause the most disruptive paradigm shift in the sciences since quantum mechanics. The big ideas revolve around universality, duality, and self-reference.
  18. CofC Library resources related to Computers, Music, and Art.
  19. Intro to Python

Artifacts & Rules

Software

(Printable View of http://www.cs.cofc.edu/~manaris/?n=Fall2012.CSCI180)