Artistic Seminar 1 - 1st semester


a) To acquire enlarged and solid knowledge on sound phenomenology from the point of view of sound physical production and cognition.
b) To acquire expertise on the modern musical acoustics as well as sound instruments that depend from electrified technologies.
c) To acquire knowledge about the theoretical and practical foundations of sound synthesis.
d) To study the association between specific sounds and the synthesis technique that produced them.
e) To develop skills for the use of studied concepts in divers programming environments.

General characterization





Responsible teacher

Isaac Daniel Casimiro Raimundo, Isabel Pires


Weekly - 3 letivas + 1 tutorial

Total - Available soon

Teaching language





GUILLAUME, P. (2005) Acoustique et musique: de l’instrument à l’ordinateur. Paris. Hermès Science, Lavoisier.
HENRIQUE, L. (2002) Acústica Musical. Lisboa. F.C. Gulbenkian.
MARSHALL, L. (2006) Architectural Acoustics. Amsterdam. Elsevier.
ROSSING, T.D. (1990) The Science of Sound, Boston. Addison-Wesley.
HELLER, E.J. (2012). Why you hear what you hear: an experiential approach to sound, music and psychoacoustics. Princeton, NJ: Princeton U. Press.
DEAN, Roger T. (2009) The Oxford Handbook Of Computer Music, NY, Oxford University Press
BOULANGER, R. C. (2000) Csound Book. Cambridge. MIT Press.
BREGMAN, A. S. (1990) Auditory Scene Analysis, Cambridge. MIT Press.
DODGE, C. JERSE, T. A. (1985) Computer music, synthesis, Composition, and Performance. NY . Schirmer Books.
MANNING, P. (2004) Electronic and computer music. NY. Oxford U. Press.
McADAMS, S., BIGAND, E. (1994) Penser les sons, psychologie cognitive de l’audition, Paris. PUF.
ROADS, C. (1996) The Computer Music Tutorial. Cambridge

Teaching method

Practical and theoretical sessions. Oral presentation from the matters (50%). Musical works audition, laboratorial sound examples analysis and discussion (15%). Computer programming practice (35%).

Evaluation method

Module 1: Continuous evaluation and a final written assessment (50%).
Module 2: Continuous evaluation by production one or more short practical exercises, a final programming project with artistic and creative (25%). A final written assessment (25%). The final project works can be object of public presentation.

Subject matter

Module 1: Physical Acoustics and sound.
Teacher: Vincent Debut
1. Studying sound phenomenology under its physical point of view.
2. Studying production and propagation of sound phenomena, sound signals representations, rooms acoustics and auditory system.
3. Studying relevant aspects of musical and instrumental sound acoustics.
4. Psychoacoustics.

Module 2: Technical synthesis and sonority study. The sound forms.
Teacher: Isabel Pires
5. Developing theoretical knowledge and practical ability on using the key techniques of digital sound synthesis.
6. Acquiring skills on virtual instruments building.
7. Acquiring theoretical and practical knowledge concerning the sound \"forms\".
8. Studying the auditory sound synthesis perception and its association to technical procedures and aesthetic aspects.
9. Practical Programming in CSound.


Programs where the course is taught: