Artistic Seminar 3
a) To understand the technical and aesthetic issues related to interactivity and to the sound processing and manipulation in real-time situations.
b) To acquire the required knowledge to design and develop unique algorithms for real-time sound processing.
c) To be able to develop computer programming skills on Max / Msp environement.
d) To be able to technicaly and aestheticaly approach the musical creation and sound spaces manipulation in real-time.
Isabel Maria Antunes Pires
Weekly - 3
Total - 280
PUCKETTE, Miller. (2006) Theory and Techniques of Electronic Music. DRAFT.
ROWE, Robert. (2002) Interactive music systems: machine listening and composing, MIT Press, Cambridge, Mass.
WINKLER, Todd. (1998) Composing interactive music : techniques and ideas using Max, MIT Press, Cambridge, Mass.
VINET, Hugues, DELALANDE François and all. (2000) Interfaces homme-machine et création musicale. Paris. Hermes Sciences Publicat.
WINKLER, Todd. (2001) Composing interactive music: techniques and ideas using Max. NY. MIT Press.
Holland, S.; Wilkie, K.; Mulholland, P.; Seago, A. (eds.) (2013). Music and Human-Computer Interaction, London, Springer.
Theoretical and practical lessons. Theoretical presentation related to the study field (30%). Listening and discussion of musical works, and practical work in the laboratory. Programming practice (70%).
In class teaching
Continuous assessment through the production of practical exercises in class (20%)(20%), Presentation of a final project of interactive programming of creative nature (60%)(60%), Respective report (of the Presentation of a final project ...) (20%)(20%)
1. Interactive systems and graphical programing: Concepts of interactivity, initiation to practices, issus and constraints of interactive systems for real-time audio manipulation.
2. Programming practice of interactive audio systems for sound manipulation in a graphical programming environment: The Max / Msp software. Information flows and random processes. Sound synthesis and information saving.
3. Real-time audio analysis processing: Information capture and audio signal granulation.
4. Real time signal processing: Pitch transformation. Effects and filtering. Live recording and manipulation.
5. interactive sound spaces: The concerto and the installation, interactive systems and reactive systems. The body as interface and the sensors.
6. Creative practices and performance control: Interfaces management , inputs and sends control. Performance and events sequencing control.
Programs where the course is taught: