ESP Courses for Spring 2017

MCMP-605 Graduate Electroacoustic Seminar - SuperCollider · Scott Cazan          

Composing with SuperCollider: This will be an introductory course on the SuperCollider music language with a specific focus on composing, live performance, and sound design. Some previous coding experience in any language is required.

MBLE-625 Creative Electronic Ensemble · Scott Cazan

An ensemble researching the interactive languages and the improvisational forms of live electronic music with a major philosophical focus on music technology and interactive, improvisational music.

MCMP-665 - Composition with Max/MSP · Clay Chaplin

A course designed for qualified music students to gain facility in using graphical programming environments. For over twenty years such environments have been used by composers, artists, musicians, and scientists to create truly unique customized programs for sound, video, multimedia, and data reinterpretation. This course will focus on computer music composition techniques and students will be expected to create and perform their own works. 

 MCMP-665 - Field Recording Workshop · Clay Chaplin

Course available by permission of instructor only. The Field Recording Workshop is an investigation into the historical, technical and aesthetic aspects of field recording as a means of documentation and as a musical practice. As a workshop, we will actively engage in making recordings, comparing and testing equipment, testing various post-recording procedures and, as a final project, creating field recording pieces. The history of field recording, from its inception as a form of documentation (of existing music and environments) towards its use as musical material (from musique concrete onward) will be sketched through readings and especially an extensive listening list.

MCMP-617 Speculative Sound · Laura Steenberge

Do you ever wonder about the sound of the Big Bang or the voices of plants? What was so alluring about the pied piper’s song? If we did receive communications from another planet, what would they actually sound like, or look like, or taste like? Just because something is unknowable, impossible, imaginary or unhearable doesn’t mean it can’t be represented with sound or other media. In this workshop we will investigate fabulous sounds from mythology, science and speculative fiction in order to develop individual and ensemble projects. Some of the projects may yield actual pieces of music, but this class is less about composing and more about developing ways that sound and other media can be used to communicate information, tell stories and represent unknown phenomena. Any kind of background, musical or otherwise, is welcome.

MHST-525 Sonic Frontiers · Laura Steenberge

For millennia, inventors and performers have been experimenting with sound. Some practices are pretty much the same now as then; others are entirely new thanks to new discoveries and technologies. In a course that is part lecture and part lab, we will look at creative work from the 20th and 21st centuries and investigate their connections to scientific discoveries and experimental performance practices through the ages, reaching back through time to the scientific revolution, antiquity and the deep past. Because experimentation occurs at the edges of ability, we will focus on work that evokes the boundaries of knowledge: music that explores the laws of physics and the frontiers of technology, sounds that spill beyond hearing into other senses, purported communications from outer space and beyond the veil, etc.