Introduction to direct-digital software synthesis systems through flowcharting, programming, and instrument design focusing on the use of Csound.

Required Texts:

(available online via numerous vendors)


Boulanger, Richard Charles, ed. The Csound Book : Perspectives in Software Synthesis, Sound Design, Signal Processing, and Programming. (MIT Press, 1999). [amazon.com] [barnesandnoble.com]

(available online via numerous vendors)


	Dodge, Charles and Jerse, Thomas. Computer Music: Synthesis, Composition, and Performance.. 2nd ed. (Schirmer Books, 1997). [amazon.com] [barnesandnoble.com]
	Roads, Curtis. The Computer Music Tutorial. (MIT Press, 1996). [amazon.com] [barnesandnoble.com]

(6) CD-R blank disks for PROJECTS
(1) 1 GB Flash Drive (for data backup)

Grading:

20% Tutorials/Reading
15% Research Paper
15% Listening Reports
10% Concert Diffusion
15% Mid-Term/Written and Practical
25% Final Project

Policies:

1) All listening assignments are selections from the Music Library Listening Area; please plan your time accordingly. A lack of planning on your part does not necessarily constitute an emergency on the part of the library support staff.

2) All exams are comprehensive.

3) Late work is not accepted.

4) Attendance is required at all classes. Should a class be missed, it is the student's responsibility to see that the lecture notes from the missed class are obtained from a classmate and any work assigned completed by their return (a class list will be supplied to help facilitate this policy). After three (3) absences your grade will be lowered one grade increment for each absence after three (i.e. A to B+, or C to D+).

5) The Electroacoustic Music Studio will be reserved at a posted time for use by each electroacoustic music student. Additional time is possible by sign-up every two weeks. Each studio user has a five minute grace period after which the studio will revert to open use; the open use time will be available on a first come, first served basis.

6) Sign-in/out is required when using either the lab or studio. You must return the studio to the normal condition after each use or your use privileges will be removed.

7) Plan early for your final project...things have a way of happening at the last minute.

8) The requirements, emphasis, and timing of this course may be changed or adjusted to meet the specific needs of the class as determined by the instructor.

9) All students of The University of Florida are expected to conduct themselves in a reasonable and professional manner at all times as described in the Student Honor Code; please refer to The Code for specifics.

10) UF Software Coppyright Policy (12 May 1994): All faculty, staff and students of the University of Florida are required and expected to obey the laws and legal agreements governing software use. Failure to do so can lead to monetary damages and/or criminal penalties for the individual violator. Because such violations are also against the University policies and rules, disciplinary action will be taken as appropriate.

11) UF Counseling Services - Resources are available on-campus for students having personal problems or lacking clear career and academic goals which interfere with their academic performance.

These resources include:
1.University Counseling Center, 301 Peabody Hall, 392-1575, personal and career counseling;
2.Student Mental Health, Student Health Care Center, 392-1171, personal counseling;
3.Sexual Assault Recovery Services (SARS), Student Health Care Center, 392-1161, sexual assault counseling;
4.Career Resource Center, Reitz Union, 392-1601, career development assistance and counseling.

13) My office door is always open; please feel free to drop by to discuss class issues as the need arises.

Grading Scale:

A	100-93%
B+	92-90%
B	89-85%
C+	84-82%
C	81-77%
D+	76-74%
D	73-69%
E	68-0%

• GETTING STARTED: what the heck is a .sco and .orc

Boulanger:


Intro to Sound Design in Csound (pp 5-6)
Orch File and Syntax (pp 7-8)
Sound Design Etude 1 (p 9)
GEN Routines (pp 10-11)
Score Syntax (pp 12-13)
Note Lists and P-Fields (p 14)
Exercises for Etude 1 (p 15)

Dodge: (concepts review)


1. Fundamentals of Computer Music (pp 1-24)
2. Acoustics and Psychoacoustics of Music (pp 25-61)
3. Fundamentals of Digital Audio (pp 62-71)

• ADDITIVE SYNTHESIS: harmonic and inharmonic partial structures

Boulanger:


Theory: Sound, Signals & Sampling (p 16)
Sound Design Etude 2 (pp 18-20)
Exercises for Etude 2 (p 20-21)

Dodge: 4. Synthesis Fundamentals (pp 72-114)

Week 3 (Sept 8 & 10)

Boulanger:

Amplitues & Clipping (p 21)
Data Rates (p 22)
Variable Names (p 23)
Theory: Aliasing & Sampling Theory (p 24)
Sound Design Etude 3 (pp 25-28)
Envelopes (p 29-30)
Theory: Unipolar & Bipolar Functions (p 31)
Exercises for Etude 3 (p 32)

Dodge: 2. The Acoustics and Psychoacoustics of Music (pp 25-61)

Declare Research Paper Topic

Week 4 (Sept 15 & 17)

• SUBTRACTIVE SYNTHESIS: periodic and aperiodic sources

Boulanger:

Sound Design Etude 4 (p 33)
Self Comment Instrument Design (p 34)
Spectral Fusion (pp 34-37)
Value Converters (p 38)
Exercises for Etude 4 (pp 39-41)

Dodge: 6. Subtractive Synthesis Techniques (pp 169-219)

Listening Report 1

Week 5 (Sept 22 & 24)

Boulanger:

Theory: Filter Basics (p 42)
Sound Design Etude 5 (p 42)
Cascade Filter Network (pp 42-45)
Displays (p 45)
Echo-Resonator (pp 46-50)

Dodge: 3. Fundamentals of Digital Audio (pp 62-71)

Week 6 (Sept 29 & Oct 1)

• SPEECH SYNTHESIS: vowel production/vocal tract modeling

Boulanger:


Score Statements & Note List Shortcuts (pp 50-55)
Exercises for Etude 5 (pp 55-56)
Global Variables (p 57)
Sound Design Etude 6 (pp 58-62)
Conclusion (pp 62-63)

Dodge: 7.1 Analysis-Based Synthesis Techniques (pp 220-243)

• DISTORTION SYNTHESIS: FREQUENCY MODULATION

Boulanger: Understanding and Using GENs - Nelson (pp 65-97)
Dodge: 5.1 Synthesis Using Distortion Techniques (pp 115-138)

MID-TERM EXAM: Written (take home) and listening exam (in class)

Week 8 (Oct 13 & 15)

Boulanger: FM Synthesis and Morping in Csound - Evans (pp 197-206

Week 9 (Oct 20 & 22)

• DISTORTION SYNTHESIS: Waveshaping

Dodge: 5.2 Synthesis Using Distortion Techniques (pp 139-157)

Declare Final Project with written outline

Listening Report 2

Week 10 (Oct 27 & 29)

• DELAY, REVERBERATION

Boulanger: Reverb Design - Lyon (pp 467-482)
Dodge: 10.1 Reverberation (pp 289-307)

• LOCALIZATION & REAL-TIME USEAGE

Dodge: 10.2 Auditory Localization (pp 308-321)

Week 12 (Nov 10 & 12)

• GRANULATION SYNTHESIS (WAVELET SYNTHESIS)

Boulanger: Granular Synthesis IN Csound - Lee (pp 261-280)
Dodge: 8. Granular Synthesis (pp 262-276)

Research Paper Due

Week 13 (Nov 17 & 19)

• ADDITIONAL CONSIDERATIONS: computer composition, etc.

Boulanger: Convolution - Spjut (pp 507-520)
Dodge: 11. Composition with Computers (pp 341-401)

Week 14 (Nov 24)

• Individual meetings: Final Project

SoundHack

• Individual meetings: Final Project

Listening Report 3

Week 15 (Dec 1 & 3)

• Individual meetings: Final Project

Week 16 (Dec 1 & 3)

• Review for Final Exam/Presntation of Final Projects

RESEARCH PAPER: Ten to fifteen (10-15) page report on an approved compositional technique, synthesis or resynthesis technique, signal analysis process, or other related topic; an additional bibliography/discography must be included (not included in the 10-15 page count for the body of the paper). See me for approval. This is worth 15 percent of your final grade!

UNBALANCED CONNECTION CONCERTS: All students are encouraged to participate in the UnBalanced Connection concert on Friday, Oct. 17, 2008, at 7:30p. All students are required to set-up, attend, and tear-down for this concert (set-up usually begins at 4:30p on the concert day). The concert will be held in MUB 120 unless otherwise noted. Please clear your schedules early to avoid a conflict.

CONCERT DIFFUSION: The mandatory Unbalanced Connection concert is an important part of the learning process. Students will be expected to diffuse a work other than their own as assigned by the instructor on this event.

FINAL EXAMINATION: Subjective examination of material, listening test of literature and review of final projects.

FINAL PROJECT: Creative work to demonstrate an understanding and application of the principles and aesthetics discussed and experienced during the course of the semester utilizing the software techniques learned in this course. These projects will be retained/archived. Do not hand in your only copy.

SAFETY HINT: Always keep several back-up copies of your work on multiple disks; if you have a personal Macintosh you may wish to keep one copy on your personal hard-drive. Do not use the labs'/studio's hard-drives as personal storage devices. All drives are regularly cleaned of all unauthorized software, files, and documents. Do not reorganize any software on the platforms in the Electroacoustic Music Studio (MUB 340). Please sign in and out each time you use the studio.

HEARING SAFETY: It is very important that the student of electroacoustic music be aware of the listening environment in which they are working. The studio environment can, if used improperly, subject the listeners ears to unhealthy sound pressure levels. For more information and links to web sites about hearing health click here .