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General Information

Course ID (CB01A and CB01B)
MUSID008.
Course Title (CB02)
Intermediate Electronic Music
Course Credit Status
Credit - Degree Applicable
Effective Term
Fall 2023
Course Description
This course covers intermediate level electronic music techniques including digital and analog synthesizer sound design and editing; professional studio and computer music software including integrated audio/MIDI sequencing software, instrument editors, software synthesizers; basic audio/MIDI studio configuration; modular synthesis; basic digital audio recording and editing; basic audio signal processing; introduction to concepts of music notation software; historical and technological development of electronic music; and roles of electronic music technology in modern music. Some prior music experience and/or concurrent enrollment in MUSI D002. or MUSI D012A is recommended, but not required.
Faculty Requirements
Course Family
Not Applicable

Course Justification

This course is CSU and UC transferable, addresses recommendations that music majors acquire music technology skills, and prepares students who will transfer in a music technology-related majors. The course fulfills requirements for the AA Music degree. The course offers music students training in sound design.

Foothill Equivalency

Does the course have a Foothill equivalent?
No
Foothill Course ID

Course Philosophy

Formerly Statement

Course Development Options

Basic Skill Status (CB08)
Course is not a basic skills course.
Grade Options
  • Letter Grade
  • Pass/No Pass
Repeat Limit
0

Transferability & Gen. Ed. Options

Transferability
Transferable to both UC and CSU

Units and Hours

Summary

Minimum Credit Units
3.0
Maximum Credit Units
3.0

Weekly Student Hours

TypeIn ClassOut of Class
Lecture Hours2.04.0
Laboratory Hours3.00.0

Course Student Hours

Course Duration (Weeks)
12.0
Hours per unit divisor
36.0
Course In-Class (Contact) Hours
Lecture
24.0
Laboratory
36.0
Total
60.0
Course Out-of-Class Hours
Lecture
48.0
Laboratory
0.0
NA
0.0
Total
48.0

Prerequisite(s)

MUSI D051.

Corequisite(s)

Advisory(ies)

ESL D261. and ESL D265., or ESL D461. and ESL D465., or eligibility for EWRT D001A or EWRT D01AH or ESL D005.

Limitation(s) on Enrollment

Entrance Skill(s)

General Course Statement(s)

Methods of Instruction

Lecture and visual aids

Discussion of assigned reading

Discussion and problem solving performed in class

In-class exploration of Internet sites

Quiz and examination review performed in class

Homework and extended projects

Collaborative learning and small group exercises

Laboratory discussion sessions and quizzes that evaluate the proceedings weekly laboratory exercises

Assignments

  1. Assigned reading from the text or contemporary sources on the Internet
  2. Propose class presentation topics, collaborate with other students to refine presentation subjects, research using printed and online resources, present topic to class, and participate in discussion of the presentations.
    1. Weekly/bi-weekly projects of graduated difficulty demonstrating understanding and effective use of techniques and concepts including software synthesis, modular synthesis techniques, inter-application communication, and sampling
    2. Create an original music/audio final project demonstrating successful use of synthesizer and software sequencing and sound synthesis and sampling techniques.
    3. Investigation of online electronic music media sources, including projects based on materials obtained from online sample repositories

Methods of Evaluation

  1. Design and edit sounds using software synthesis programs, modular synthesis techniques, and sampling; describe techniques used in the production of the sounds.
  2. Apply techniques under study to completion of weekly lab projects
  3. Demonstrate understanding through active participation in class discussions and lab sessions.
  4. Demonstrate understanding of basic concepts, terminology, configuration and operation of equipment and software, MIDI, electronic music history and development on weekly quizzes and exam assessing ability to recall, define, compare, and apply this information.
  5. Demonstrate on practical demonstration quizzes the ability to successfully design, set up, and troubleshoot studio configurations.
  6. Create a performance quality final project of significant length applying a cross-section of all skills learned in the course to the creation of a musical/audio work.
  7. Give a class presentation/report based on research, summarizing and synthesizing course-related electronic music topics such as electronic music composers/performers, styles, historical developments, hardware/software, commercial applications and careers.

Essential Student Materials/Essential College Facilities

Essential Student Materials: 
  • None.
Essential College Facilities:
  • Lab and classroom facilities including multi-timbral keyboard synthesizers, drum machines, mixer, amplifier and speakers, computer with projection equipment (classroom), MIDI and audio interfaces, software for audio/MIDI sequencing, software synthesis, audio editing, and music notation

Examples of Primary Texts and References

AuthorTitlePublisherDate/EditionISBN
*Nahmani, David. "Apple Pro Training Series: Logic Pro X 10.4: Professional Music Production," 1st edition, Peachpit Press, 2014.
*Childs, G.W. and Michael Praeger. "Reason 7 Power: The Comprehensive Guide," Cengage Learning, 2014.
*Hoskin, Dan. "An Introduction to Music Technology," 2nd edition, Routledge, 2014.

Examples of Supporting Texts and References

AuthorTitlePublisher
Braun, Hans-Joachim, ed., "Music and Technology in the Twentieth Century", Johns Hopkins University Press, 2002.
Francastel, Pierre. "Art and Technology in the Nineteenth and Twentieth Centuries", Zone Books, 2000.
Glinsky, Albert. "Theremin: Ether Music and Espionage", University of Illinois Press, 2000.
Kettlewell, Ben. "Electronic Music Pioneers", Artistpro, 2001.
Lee, Iara, Peter Shapiro, and Simon Reynolds. "Modulations: A History of Electronic Music: Throbbing Words on Sound", Distributed Art Publishers, 2000.
Pinch, Trevor and Frank Trocco. "Analog Days: The Invention and Impact of the Moog Synthesizer", Harvard University Pres, 2002.
Friedman, Matt. "The Vintage Synth Explorer", (http://www.vintagesynth.org/).

Learning Outcomes and Objectives

Course Objectives

  • Operate keyboard controllers and synthesizers, hardware and software audio mixers, external audio and signal processing equipment, and professional music software for audio recording, sequencing, and signal processing.
  • Design and edit sounds using a variety of hardware and software synthesis and editing tools.
  • Create musical/audio projects using audio/MIDI sequencing software, audio signal processing software and hardware, and mixing hardware and software.
  • Use and understand basic features of computer notation software.
  • Design, implement, and troubleshoot audio/sequencing/MIDI equipment and software configurations in a studio environment.
  • Recognize and describe features of several important electronic music periods and genres and their characteristics.

CSLOs

  • Design and edit sounds using hardware and software synthesis and editing tools.

  • Create musical/audio projects using audio/MIDI sequencing software, audio signal processing software and hardware, and mixing hardware and software.

Outline

  1. Operate keyboard controllers and synthesizers, hardware and software audio mixers, external audio and signal processing equipment, and professional music software for audio recording, sequencing, and signal processing.
    1. Review of computer operation for music
      1. Launching applications
      2. Naming and saving files, use of folders and multiple volumes
      3. Copying, pasting, and cutting data
      4. Back-up and disk management
    2. Introduction to the studio
      1. Review of studio equipment
      2. Studio procedures
      3. New and updated hardware and software.
    3. Sound generation methods
      1. Sampling
      2. Synthesis
      3. Hybrid systems
    4. Expanded coverage of keyboard synthesizers
      1. Keyboards controllers
      2. Continuous controllers
      3. Keyboard modes
      4. Voice selection
    5. Overview of audio hardware and virtual devices used in the course
      1. Synthesizers and controller keyboards
      2. Mixer configuration and operation
      3. Amplifiers and speakers
    6. Overview of music software used in the course
      1. Music sequencing
      2. Audio sequencing and recording
      3. Software-based synthesis
      4. Signal processing software
  2. Design and edit sounds using a variety of hardware and software synthesis and editing tools.
    1. Tone generators
      1. Waveform generators
      2. Noise generators
    2. Filters
    3. Amplifiers
    4. Envelope generators
    5. Modulation
    6. Principles of software synthesis tools
      1. Plug-in tools
      2. Standalone software
      3. Methods including subtractive, additive, frequency modulation synthesis
    7. Audio sampling
    8. Editing instrument parameters on synthesizers
      1. Graintable and wavetable synthesis
      2. Hybrid systems
    9. Survey of available hardware/software tools with special attention to standard tools and new developments.
  3. Create musical/audio projects using audio/MIDI sequencing software, audio signal processing software and hardware, and mixing hardware and software.
    1. Sequence recording
      1. Transport controls
        1. Replace, punch, and overdub modes
        2. Loop recording
      2. Tracks, channels, and ports
      3. MIDI time measurement
        1. Parts per quarter note
        2. SMPTE time code
      4. Device and sound selection
      5. Setting tempo, meter
    2. Quantization
      1. Types of quantization
      2. Musical applications of quantization
    3. Transposition
      1. Manual transposition
      2. Automatic software transposition
      3. Transposition and percussion parts
      4. Customized transposition and transposition maps
    4. Building musical structures
      1. Linking sequences
      2. Copies and aliases
      3. Importing and exporting
    5. Other sequencing tools
      1. Random generators
      2. Generated sequences
      3. Event selection techniques
    6. Audio Tracks
      1. Basic audio recording techniques
      2. Basic audio mixing and editing
      3. Digital audio basics
        1. Digital-analog conversion
        2. Sampling rates
        3. Bit resolution
        4. Audio compression and conversion
        5. Audio file formats
      4. Importing and exporting audio tracks and samples
      5. Synchronizing audio tracks
    7. Introduction to mixing and mastering techniques
      1. Using the onscreen mixer
      2. Automating mixer operations
      3. Sequencer signal processing features
    8. Creation of music/audio projects, including short demonstrations of particular skills and techniques and a term project.
      1. Use of appropriate hardware/software tools
      2. Discussion of aesthetic and technical elements of projects
      3. Critique of current projects
  4. Use and understand basic features of computer notation software.
    1. Input methods
    2. Editing methods
    3. Playback and printing
    4. Importing and exporting
  5. Design, implement, and troubleshoot audio/sequencing/MIDI equipment and software configurations in a studio environment.
    1. Terminology
    2. Device interconnection using MIDI and USB
      1. Device interconnection schemes
      2. Configuring the multi-device studio
      3. Configuring MIDI software
    3. Audio interfaces
      1. Firewire
      2. USB
      3. Hardware-based
    4. Survey of uses of MIDI and other control methods
      1. Live performance
      2. Studio applications
      3. Inter-application communication and synchronization
    5. Analysis and resolution of configuration problems as they arise in the studio. Specific issues will vary every term.
  6. Recognize and describe features of several important electronic music periods and genres and their characteristics.
    1. Recognize and describe several important electronic music styles, including works by a representative variety of composers in a diverse range of styles including experimental and popular music. Specific subjects will vary each term and will include examples such as the following.
      1. Pre-World War II precursors. Representative figures include Thaddeus Cahill, Leon Theremin, Clara Rockmore.
      2. Tape recorder music of the 1950s. Representative figures include Karlheinz Stockhausen, John Cage, Edgard Varese, Columbia-Princeton Studio composers, Pierre Schaeffer.
      3. The modular synthesizer of the 1960s. Representative figures include Morton Subotnick, Pauline Oliveros, Robert Moog, Wendy Carlos, Don Buchla.
      4. Imitative synthesis. Representative composers include Wendy Carlos, Isao Tomita.
      5. Development and evolution of digital synthesis. Representative figures include Charles Dodge, Max Matthews, Laurie Spiegel.
      6. Electronic music as a performance medium. Representative figures include Laurie Anderson.
      7. Use in popular music. Representative examples from contemporary genres including, but not limited to, synth-rock, hip-hop, techno, ambient music.
      8. Development and evolution of MIDI and sequencing applications.
      9. Development and evolution of sampling
    2. Recognize and describe practices and techniques used in electronic music of various styles. Selected examples will vary each term.
      1. Popular music
      2. Experimental music
      3. Music for film and video
    3. Selection of student research projects for presentation in class

Lab Topics

  1. Drum machine techniques: patterns and songs, editing sounds
  2. Creating instruments using subtractive synthesis techniques
  3. Operating sampler instruments
  4. External control devices: Sequencers, control signal processors
  5. Using effects devices in sequence and via mixer send/return loops
  6. Acquiring, recording, and editing audio samples
  7. Building sampler instruments from individual sample sources
  8. Inter-application integration using Rewire
  9. Integrating techniques into a final musical project
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