Artistic Seminar 2


- To develop audio projects, taking into account any stage;
- To analyze, technically and creatively various musical productions;
- To be able to understand the specific role of recording technologies, synthesis, editing and sound diffusion, in the context of musical creation;
- To know the technical terms of area and apply them correctly;
- To know the most important historical moments of music technology;
- To enhance the understanding of the creative dimension of musical composition.

General characterization





Responsible teacher

Rui Pedro Rodrigues Pereira Jorge


Weekly - 3

Total - 280

Teaching language



Available soon


*BARLETT, B. (2009). Practical recording techniques, Burlington: Focal Press.
*BORNOFF, Jack (1972) - Music and the Twentieth Century Media, Florence, International Music Council;
*CHION, M. (1993) - La Audiovisión, Barcelona, Paidós;
*COOK, Nicholas (1998) - Analysing Musical Multimedia, Oxford, Oxford University Press;
*FONSECA, Nuno (2006) - Introdução à Engenharia do Som, Lisboa, Lidel;
*GOTTLIEB, Gary (2007) - Shaping Sound in the Studio and Beyond: Audio
Aesthetics and Technology, Boston, Delmar;
*HENRIQUE, L. (2002) Acústica Musical. Lisboa. F.C. Gulbenkian.
*HUGILL, Andrew (2008) - The Digital Musician, New York, Routledge;
*MAZZOLA, G.; PARK, J. & THALMANN, F. (2011) - Musical Creativity, Strategies and Tools in Composition and Improvisation, Dordrecht, Springer;
*MIDDLETON, Paul e GUREVITZ, Steve (2008) - Music Technology Workbook - Key Concepts and Practical Projects, Oxford, Elsevier;
*RUMSEY, F. (1996) - The Audio Workstation Handbook, Oxford, Focal Press.

Teaching method

- Expository classes with its historical involvement, accompanied by practical demonstration and analysis of specific cases.
- Practical exercises done by the students;
- Commented hearing and debate on specific topics of the program;
In class teaching

Evaluation method

- Critical review - 20%: selection, by the student, of a relevant work from the point of view of technology in musical composition. Analysis of this work developing a critical review on it.(20%), - Oral presentation - 30%: oral presentation in class of the analysis and summary of an article selected by the student, according with the subjects of the syllabus;(30%), - Project composition - 50%: image sonification exercise, students will have to make an electroacoustic composition with 1 minute. The final project works can be object of public presentation.(50%)

Subject matter

I - Composition and technology
1. Musical composition and technology;
2. Pioneers and key moments;

II - Technological presence in the history of popular music in the century. XX

III - Sound ecording
1. Microphones: characteristics according to electric power: dynamic and condenser; characteristics of microphones according to directionality: omnidirectional, cardioid, bi-directional and super-cardioid;
2. Selection of microphones according to specific objectives: diaphragm size; positioning and frequency spectra;

IV - Editing
1. Signal flow: analog and digital; sound digitization;
2. Key elements of the sound studio;
3. Mixing desk;
4. Monitoring;
5. Studio workflow;
6. Editing Practice;
7. Equalization and audio signal characteristics;
8. Dynamics;
9. Effects processing;
10. MIDI;
11. Sampling and musical creation.


Programs where the course is taught: