Advanced Music Programming, Synthesis and Live Electronics 1

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Code Completion Credits Range Language Instruction Semester
101PMHP1 Z 3 4 hours (45 min) of instruction per week, 14 to 24 hours of self-study English, Czech winter

Subject guarantor

Michal RATAJ, Jan TROJAN

Name of lecturer(s)

Michal RATAJ, Jan TROJAN

Learning outcomes of the course unit

Significantly developed ability to use the sound/music studio as a musical instrument from a composer's point of view. Production of music using the acquired knowledge in the field of music and technology.

Mode of study

practical class

minimum 90% attendance

LAB 019, enter from the main square, blue door / ring called „LAB“

Prerequisites and co-requisites

Students should be familiar with the technological fundamentals of sound recording, electroacoustic music and sound post-production, including an orientation to the computer and recording studio environment from the perspective of a composer/sound artist/sound designer.

Course contents

Practically oriented instruction in composition skills in the environment of contemporary music technology is focused primarily on digital sound transformation, control of virtual musical instruments, basic concepts of musician-technology interaction, and sound mixing in a DAW environment. Familiarity with digital sound shaping tools is used to develop compositional imagination and skills in situations where the source of musical sound is not an acoustic signal source. The student will be introduced to advanced methods of sound composition, synthesis, sound post-production, mixing, music programming in the MAX environment, and mastering, all primarily from the perspective of practical skills that a music composer should possess today. The exercises take into account the realization of the students' own creative projects and may have overlaps into the field of incidental and film music and various intermedia forms of contemporary art.

Recommended or required reading

DAW [software]. (PRO TOOLS [software]. [Accessed 2 December 2019]. Available from: https://www.avid.com/pro-tools. LOGIC, LIVE)

MAX [software]. [Accessed 2 December 2019]. Available from: https://cycling74.com.

SYROVÝ, Václav. Technické základy elektroakustické hudby: Určeno pro posl. fak. hudební a fak. filmové a televizní. 2., přeprac. vyd. Praha: SPN, 1990. 159 s

ROADS, Curtis. Composing electronic music: a new aesthetic. Oxford: Oxford University Press, 2015. xxvii. 480 p. ISBN 978-0-19-537324-0.

HOLMES, Thom. Electronic and Experimental Music: Technology, Music, and Culture. London: Routledge, 4th ed. 2012. 568 p. ISBN 978-0415896368.

PUCKETTE, Miller. The theory and technique of electronic music. New Jersey: World Scientific Publishing Company, 2007. 348 p. ISBN 978-9812700773.

Assessment methods and criteria

Credit awarded on the basis of regular attendance and a well-crafted compositional output.

Minimum attendance required: 90%

Active participation in the practical implementation of the entire project with completion at the last class of the semester.

Note

MAIND TOPIC for the Fall 2022:

Instrumental design, interfacing for music/sound performance, especially

Further information

Course may be repeated

Schedule for winter semester 2022/2023:

06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
Mon
room 019
LAB

(Liechtenstein Palace)
RATAJ M.
09:00–10:30
(parallel1)
Tue
Wed
Thu
Fri
Date Day Time Tutor Location Notes No. of paralel
Mon 09:00–10:30 Michal RATAJ LAB
Liechtenstein Palace
parallel1

Schedule for summer semester 2022/2023:

The schedule has not yet been prepared

The subject is a part of the following study plans