Category Archives: Teaching

Sum and Difference (2021)

Link to Score (Google Doc)

Sum and Difference is a collaborative composition guideline for music technologists. Each member of the ensemble joins in an online meeting platform to process audio files according to the score. The result is new sample-based compositions that share similar characteristics. The pieces are also different due to the variety of the original samples and the ensemble member’s improvised parameter changes.
For participants, Sum and Difference is more about the process of making it than the result. In the pandemic-influenced time, the joy of creating music together, the joy of creating something from nothing in an ensemble, is severely limited. But the current situation forces music technologists to experiment with collaborative methods best suited for online interaction. Sum and Difference works best when each member is on the Internet, physically alienated from the rest of the world.

by Joo Won Park

Performers 

Number of performers: 4-10  

Needed technology

  • A web folder accessible by all performers
  • An audio editor or DAW for each performer

Needed skills

  • Experience and knowledge in digital audio editing and processing
  • Data organization and management skills

Preparation

  1. Make a sharable web folder
  2. Upload recordings of non-musical sound with the file names shown in the score (A0.wav, B0.wav, etc.) 
    • The number of uploaded audio files should equal the number of performers
    • Each audio file should be 2-5 seconds long 
    • Each audio file should be distinct from the others 
  3. Each performer should plan a processing or editing technique to change an audio file
    • Use any DAWs or apps
    • Establish a short and repeatable process. The performer should be able to execute it within 5-10 minutes

Execution

Step 0. Gather using a remote meeting platform such as Zoom or Google Meet. Assign one performer to one Processor. 

Step 1. Download, process, and upload the audio file from the web folder according to the score. 

Each cell in the score has ▼FileName-P-▲FileName.  Here’s an example of how to interpret it

If the cell has ▼A0-P-▲B1

  1. Download file named A0.wav from the web folder
  2. Process the sound according to the plan
  3. Export the sound with file name B1.wav, and upload it to the web folder

Step 2-10. After 10 minutes, repeat the download-process-upload procedure described in Step 1

  1. Vary the processing parameters (i.e., move knobs, use different settings)
  2. Strive to add a few more seconds of sounds
  3. Edit and polish the sound if possible (i.e., delete the silence at the beginning, normalize, etc.)
  4. Be consistent with the file format. Use a format readable by all platforms, such as .wav and .aif

Last Step. Share and listen to the resulting sounds. The number of final tracks should equal the number of performers.

Score by Ensemble Size 

Link to Google Sheet Template 

QuartetStep 0Step 1Step 2Step 3Step 4
Processor 1A0▼A0-P-▲B1▼A1-P-▲B2▼A2-P-▲B3▼A3-P-▲B4
Processor 2B0▼B0-P-▲C1▼B1-P-▲C2▼B2-P-▲C3▼B3-P-▲C4
Processor 3C0▼C0-P-▲D1▼C1-P-▲D2▼C2-P-▲D3▼C3-P-▲D4
Processor 4D0▼D0-P-▲A1▼D1-P-▲A2▼D2-P-▲A3▼D3-P-▲A4
QuintetStep 0Step 1Step 2Step 3Step 4Step 5
Processor 1A0▼A0-P-▲B1▼A1-P-▲B2▼A2-P-▲B3▼A3-P-▲B4▼A4-P-▲B5
Processor 2B0▼B0-P-▲C1▼B1-P-▲C2▼B2-P-▲C3▼B3-P-▲C4▼B4-P-▲C5
Processor 3C0▼C0-P-▲D1▼C1-P-▲D2▼C2-P-▲D3▼C3-P-▲D4▼C4-P-▲D5
Processor 4D0▼D0-P-▲E1▼D1-P-▲E2▼D2-P-▲E3▼D3-P-▲E4▼D4-P-▲E5
Processor 5E0▼E0-P-▲A1▼E1-P-▲A2▼E2-P-▲A3▼E3-P-▲A4▼E4-P-▲A5

Score for larger ensembles are available in the Google Doc Version

Demo/Example

Link to all files made in a 10-piece ensemble version

Made  by Electronic Music Ensemble of Wayne State (EMEWS) on Jan 20, 2021

Matthew Banka, Maxwel Bourgeois, Garrison Briggs, Daniel Kozlowski, Logan Macka, Benjamin Schornack, Alec Segel, Mark Whalen, Daniel Yates, Michael Younger

Compare and listen to the process

J0, A1, B2, C3, D4, E5, F6, G7, H8, I9, J10 (one sample going through ten processes) 

Computer Music Practice Examples

Computer Music Practice Examples is a new series featuring the application of computer music technology to instrument design, composition, performance, and presentation. 

Introduction

RMHS: Drone Generator

ISJS: Granular Processor

SIOE: Audio Supercut Generator

APG: Audio Palindrome Generator

Many: Reverb Ambient Generator

Forms to Ponder

CMPE Variety Pack

Youtube Playlist

MMEA Presentation: Majoring in Music Technology

This page contains a PDF version of the slides I am using for the Michigan Music Education Association’s Summer Technology Workshop 2018 (event link).

MajoringTech.pdf

Majoring in Music Technology: An Introduction to Undergraduate Music Technology Programs in Michigan

The presenter will discuss the similarities and differences between various music undergraduate technology majors offered by the 4-year universities and community colleges in Michigan. The session will also provide tips on the application procedure and portfolio preparation.

Listening List – Intro to Electroacoustic Music

I taught two introductory classes about  electroacoustic music in Fall 2015. One of the assignments in these classes is a weekly listening report on selected music. Can you guess the topics discussed in each week by looking at the listening list?

Week 1:

Autumn Signal  (1978) by Joan La Barbara :  Identify signal processing techniques that extends the singer’s acoustic limits

Klang (1982) by Jonty Harrison : What is the computer’s role in creating harmonic language and form of the piece?

Week 2:

Out of Breath  (2000) by Paul Koonce :  What can you listen and identify besides “two” flute notes?

Kits Beach Soundwalk (1986) by Hildegard Westerkamp : How were the studio techniques used to narrate the story in this piece?

Read & Summarize Section 1 (pg 1-7) of Sound Reinforcement Handbook by Davis and Jones

Week3:

Read pg 9-10 of Living Electronic Music about WSP and Kits Beach Soundwalk

Read Soundscape and Truth section (p120-124) of the same book

Gainesville Soundscape (2007) by Joo Won Park : There is no need to write a  summary on your teacher’s piece, but have a listen.

Appalachian Grove I (1977) by Laurie Spiegel : Could this piece have been played by non-electronic ensemble (i.e. orchestra)? Why or why not?

Week4:

Two-Part Invention in F Minor (1977) by Wendy Carlos : discuss the historical/social significance of this piece.

Compare and contrast Bye Bye Butterfly (1965) by Pauline Oliveros and Silver Apples of the Moon (1967) by Morton Subotnick. Do a little research on the instrumentation and their usage.

Week5:

Crystal (1982) by Maggi Payne : This piece may appear to have no conventional sense of rhythm. What should we listen for, then?

1971 Arp 2600 by Benge (2007) : The artist uses the same synthesizer we have in the Studio 4. Discuss how envelopes, filters, and oscillators were used in this piece.

Week 6:

Apparitions (2004) by Ed Martin : How effective was the notations of electronic parts in this piece?

O Superman (1982)  by Laurie Anderson : If you were to perform this piece on stage, how will your setup look like?

Week 7:

Listening/Reading Report I is due

Week 8:

Fall Recess

Week 9:

Cubicle (2007) by Paul Riker : Discuss the form of this piece.

Three Fictions (Northern Mix) (2000) by Natasha Barrett : The composer states that “each movement presents a brief glimpse of a sight, a sound, a sensation.” Do you agree?

Week 10:

Requiem (1973) by Michel Chion : The piece was recorded/edited/processed in magnetic tape. Listen to the entire album. Write a response on techniques (you may need to do some research) and aesthetics.

Week 11:

Maa (Earth) I. Journey (1991) by Kaija Saariaho : Discuss the transitions from one section to another.

Grains of Voices (1995) by Ake Parmerud : Describe how the sense of time  and place was composed and manipulated in this piece.

Week 12:

The following pieces use sound materials quite different from what we have heard so far in the class. Describe how the two pieces use such sounds to create music (or not).

10’00 (2006) by Shibuya, Moslang, Nakamura

Time…dot (2002) by Carsten Nicolai & Alva Noto

Week 13:

Read one audio/electronic music magazine available the public lab. Write a summary on the magazine itself or an article.

Week 14:

Compare and contrast the following two pieces. Discuss the artistic usage of time and place.

sparrows in supermarkets (2011) by Paula Matthusen

Petite Musique Sentimentale (1984) by Yves Daoust

Week 15:

Submit the listening/reading report  BEFORE the reading period begins.