Music and Computing
a) To know the main technological means (organological and not organological) developed during the twentieth century that triggered or influenced the computer music development in its multiplicity.
b) To develop an attitude of critical reflection on key issues related to electroacoustic music and computer generated media: their genesis, evolution, aesthetics and major currents.
c) To know the basic theory of the main sound synthesis technics as well as other associated audio processing basic technics.
d) To acquire knowledge about the multi-dimensional relationships between sound and image as well as the representability of sound and music phenomenon issues.
e) To know computer tools for musical scores writing and edition.
Rui Pedro Rodrigues Pereira Jorge
Weekly - 4
Total - 168
MANNING, Peter. (2004) Electronic and Computer Music, Oxford ; New York : Oxford University Press.
KETTLEWELL, Ben. (2001) Electronic Music Pioneers, Vallejo, CA.
DODGE, Charles & JERSE, Thomas. (1997) Computer Music: Synthesis, Composition and Performance, New York : Schirmer Books, 2ª ed.
ROADS, Curtis. (1996) The Computer Music Tutorial, Cambridge, Mass. : MIT Press.
BREGMAN, Albert S. (1990) Auditory Scene Analysis, MIT Press.
McADAMS, Stephen, BIGAND, Emmanuel. (1994) Penser les sons, psychologie cognitive de l'audition, Paris, PUF.
PATTESON, Thomas (2016) Instruments for New Music: Sound, Technology, and Modernism, Oakland, University of California Press
50% practical sessions, 50% of the lectures.
The lectures will combine theoretical exposition, observation and discussion of musical examples, techniques and concepts as well as commented audition of musical works. The practical sessions will include musical score edition programing practice and auditory graphic scores production.
In class teaching
Método de avaliação - Three practical programming exercises(60%), a final assessment(40%)
1. Study of the main currents of musical thought developed as a result of the technological use in musical creation and performance.
2. Learn about main sound synthesis types and know its techniques.
3. Study and discuss about electroacoustic music works composed since the late forties of the XX century.
4. Study and understand issues related to the reception and representability of this kind of works.
5. Studying some relationships between sound and image as well as expressive potentialities of music generated by electronic and computer media at the intersection with the visual and performing arts.
6. Studying the issues of score edition from manuscripts sheet music.
7. Become familiar with basic tools for digital sound processing, as well as analitical graphic scores production.
Programs where the course is taught: