MUSI 403: Basic Electronic Music
class website: http://www.tri-jack.org/blog
REM Labs website: http://remlabs2.rice.edu

–> Fall 2009 – MWF: 11:00-11:50 p.m.
–> Instructor: Daniel Zajicek
–> email: djz1@rice.edu
–> Office Hours: By appointment
–> Room code:
–> Locker info:
–> Chapman Welch – Lab Technician/Professor – cw7@rice.edu

Recommended Materials:
Thom Holmes, Electronic and Experimental Music – 3rd edition, 2008
A USB thumb/flash drive
Some blank CD’s

Description
Basic Electronic Music is an introductory course in the technology, history, and art of using sound through technology in a musical way. Throughout this course we will explore sound as a creative object, looking at it through the lens of scientist, artist, musician, and composer. Course material will focus on multiple projects, in class listening and critique, along with assigned reading.

Assignments and class work
For me learning is best serviced by doing, so with that in mind I have built the class around six projects. The first five are clearly defined by me, and every effort should be made to work within the given restrictions. For the sixth and last assignment it is open to you. In addition to these assignments there will be required reading that we will discuss in class, along with multiple listening sessions. It is expected that everybody should participate in these discussions, and if it seems that people have not been doing the reading I will start providing tests.

From time to time I may also post assignments and other supplemental materials on the class website (see link above). I may also want you to comment or make postings of your works up there as well. Make it a part of your weekly routine to double check the site.

Using the REM Labs
There are 4 studios contained within the REM Labs, A, B, C, & D. Studios C & D are reserved for students in this class, however at times it may be possible for you to use the other spaces. However, if a student from another class needs to use studios A or B and you are using them, you must quit what you are working on and allow them to use the space.

To Book a studio/reserve a time, go to the REM Labs website and follow the necessary links. That will take you to a google calendar system where you can schedule your studio time. I recommend spending some time in the beginning of the semester playing around with the machines just to get to know how they are working.

Also, it is studio policy not to eat or drink while working in the studio. If you leave trash, or find trash in a room, throw it away or report it to somebody. This is our space so keep it clean.

Last, to access the lab you need both a key and the room code. The key for our class is located in a locker in this building and I will give you the room code the first day of class. When you are using the studio please leave the outer door propped open so that your classmates may access the studios as well. Also, remember to return the key after you are done using it.

Checking out equipment
All equipment checkout should be done either through me or Chapman. You may schedule a time to meet with us after class, or through email. There are a couple flash recorders with microphones available for student use. Take care of this equipment, and please report any problems immediately. If you need some equipment and it is checked out to somebody else, there is also the Digital Media Center located in the middle of campus. They are equipped with some recording devices and are a great resource.

Grading
For most of the projects I will provide you with an in class critique of your work. For the most part, if you fulfill the guidelines set out in the assignment you will receive full points for your work. If I suspect that you have not worked to your full potential, I may ask you to redo it or make changes. I will also grade you on participation, which will be tied in with your attendance. You are allowed three absences before I will begin to lower your grade. Please communicate with me if you are going to miss class, and it is up to you to collect any materials that you have missed due to your absence.

Communication
Communication is the key to any successful relationship, and the relationship between me and my students is paramount. Please do not hesitate to contact me about anything that is giving you problems and I will do my best to work with you whatever the situation is. I understand that life does not always fit within the confines of an academic regiment, but unless you communicate with me I will not be able to help you.

MUSI404 – Electronic Music Composition
When/Where: 10:00AM – 10:50AM MWF APB 1709

Instructor: Daniel Zajicek

Contact info: d a n z a j i c e k @ g m a i l . c o m – 940.390.8976

Office Hours: TBA

Course website: http://www.tri-jack.org/MUSI404/

REM Labs website: http://remlabs2.rice.edu

Course Description:

This class is about exploring electronic music into the realms of synthesis and video primarily through the programs Max/MSP/Jitter and Final Cut Pro. Since Max is a graphical programming environment, there will be weekly assignments, readings, and presentations for the first half of the semester. In addition to these, students will produce two musical creations, (the second creation may be an extension of the first) and the culmination of the course will be a concert performance near the end of the semester.

Instructional Method:

A substantial part of this course is individuality in your design approach. Every road leads to Rome (or Helena, or Tokyo, or Mars!) What I would like to see in this class is for everyone to come up with something unique. You will spend time working outside of class for your bi-weekly assignments and two major projects. I will generally lecture on

Wednesdays and Fridays. You will be showing to the rest of the class your finished assignments on Mondays. On those Mondays when there is no assignment due, you will be given small challenges to complete and share in class.

Recommended Materials:

Computer Music – Charles Dodge & Thomas Jerse

Though not required, it is highly recommended that students in this class purchase their own copies of the Max/MSP/Jitter software. Students can purchase a nine-month license for $59. (cycling74.com) They also offer a 30-day free trial.

http://www.cycling74.com/purchase/discounts

You MUST have an email account and check it at least every other day. Some class correspondence may happen via email. I will post class materials on the course website.

Sounds & Using Copyrighted Material:

All sounds used for projects should be recorded or created by the student producing the work. If you desire to use copyrighted material as your sound source it must be significantly altered, or in more artistic terms “personalized,” so that the original source is no longer obvious. If your artistic idea does not fit in to these confines, please discuss the matter with me.

Grading:

Assignments and Challenges ———- 40%

Mid-term and Final Projects ———– 40%

Attendance/Participation ————— 20%

Assignments are expected on time. If a student finds s/he will not be able to hand in an assignment or project on the scheduled day, it is the student’s responsibility to notify me prior to that day. Under no circumstances will I accept the work if I have not been notified and arrangements made prior to that day.

Grades are based on a system of personal growth within the following criteria; time and effort, interpretation of the assignment, aesthetics and technical expertise, critique participation and professional presentations.

I will give verbal feedback on your assignments during class. You will receive a written report mid-semester regarding your progress. If at any time you would like to know where you stand, talk to me directly.

Working in the studios:

MUSI 404 students have top priority for the use of Studios C & D, while the main room, along with Studio B are reserved for the other class. To reserve time in a studio log into google calendar with the following information:

User/pass: REMLABS.RICE / REMLABS.CALENDAR

Also, if you have any technical or other issue while working in the lab and nobody else is there to help you sort it out, please send something to the REM lab’s user list (which you all should be members of!!!)

Email: REMLABS-L@listserv.rice.edu

Disclaimer:

The instructor reserves the right to alter the syllabus depending on the needs and interests of the class as a whole. Any concern regarding the course should be brought to the attention of the instructor immediately.

Learning Disabilities:

Please contact me if you have a documented disability that may require some modification of seating, testing, or other class requirements so that appropriate arrangements can be made.

MUSI 403 || Projects

ONE – Sound object
Using a stationary microphone, record a sound object, space, or activity. Choose something that is sonically interesting to you, and be prepared to explain your choice. The duration of the recording should not be too long or too short–and long enough to fully represent your idea. A good maximum would be 4 min.
DUE: September 9

TWO – Microphone
Using a roving microphone, record a sound object, space, or activity. Different that assignment one, the microphone now becomes and active participant in the work, and be mindful of how you are coloring your recording. Choose something that is sonically interesting to you, and be prepared to explain your choice. The duration of the recording should not be too long or too short–and long enough to fully represent your idea. A good maximum would be 4 min.
DUE: September 9

THREE – Analysis
Listen to the examples provided and create a visual representation of the sounds you hear. Be as precise as you like, but do your best to try and capture the works temporal and sonic character in your image. You may use whatever tools you like, but you will need to be able to have something to turn in to me.
DUE: September 21

FOUR.1 – Gesture
Schedule a recording session to record a series of sonically interesting objects that you will perform in front of the microphone. After recording your session, go through your file using Peak, Audacity, or any equilavent sound editor and organize your session into smaller sounds that are labeled specifically. Place these sounds in a folder with your name on it and be prepared to turn in your work in class.
DUE: September 28

FOUR.2 – Gestural Orchestration
Using the sounds that you collected in the previous assignment, put together a series of gestures using Logic. Do not apply any effects or alterations to the sounds at this point. If you feel strongly about your materials you may instead create a short composition that incorporates a gestural approach. As usual, be prepared to present your work in class and explain your approach. The duration of the work should not be too long or too short, but long enough to fully represent your idea.
DUE: October 7

FIVE.1&2 – Narrative
.1 Annotate a script, poem, or prose excerpt with sounds that you hear/imagine when reading the text. Be as specific as possible.
.2 Record, locate, or design the sounds that you have annotated in the text using Peak, Audiosculpt, Soundhack, or any other piece of software that I have demonstrated in class. Combine your sounds into a composition in Logic and be prepared to present it in class.
DUE: October 28

SIX – CUMULATIVE PROJECT
Create an acousmatic work of substantial depth and merit. This one is up to you. Be creative and consult your highest artistic standards. Make the work as long as you feel will fully represent your ideas, but not too short. This is to show me what you have learned, and for you to have some fun/freedom. Be prepared to present your work on the last days of class and receive in class critique.

NOTE: We will all meet individually to discuss your intentions for this project at least two weeks before it is due.
DUE: December 2