Instructors: Rockmore and Polansky
Dartmouth College, Spring, 2003
Computer Music "Foraging" Assignment
work in groups of 3
Assignment 1: Given: Tuesday, April 8
Due: Tuesday, April 22
Assignment #2 : Computer Music "Foraging" Assignment
Working in groups, pick a computer music composition or synthesis program, produce a short study, write a detailed evaluation of the program, demonstrate it briefly in class.
Specifically, you are to do the following
Groups: If you can't find a group of three people,
email me or Dan immediately, and we'll put you in touch with others who
Programs: Larry needs to "vet" the program you're intending to use, so that it's not too hard or too easy. For instance, SoundApp is too easy, and CoolEdit, Soundmaker are out. But, ProTools, Soundhack, Supercollider, PD, Gem, Soundmulch, Fruity Loops, Agarraphones Lyre, Melody Assistant, and many others would be just fine. Run your prospective choice by Larry before you start working in it. You should avoid very simple techno and drum beat editors, but on the other hand, more sophisticated versions of those (Fruity Loops, Acid, etc.) are perfectly ok (and we expect you to find some unusual things about those programs).
Where to find programs: I can suggest some, but also, a great place to look is Phil Burk's computer music software list.
Harmony Central is another good place to check out software, hardware, etc.
One truism about music software is that a lot of it is
simply designed to "make
easier" things that we already think we know how to do, know how to hear.
In other words, a lot of it doesn't move music forward, just quicker and more of it. Like a word
processor does for writing: it's meant to facillitate known forms, not enable
new ones (this is a bit of a generalization).
But to continue the analogy, what if someone found features
in a word processor that in
fact engendered new literary, poetic, rhetorical ideas, and which were, not in fact, intended for
those purposes. That would be interesting. With music software, this is
more common, since music is so abstract, multi-stylistic, inviting of invention,
So a synthesis program, a complex sequencing program,
some interesting notation
program, a small music programming language, a DSP modelling application, those
are all good candidates and there are certainly others.
(By the way: group dynamics are not going to be something
Dan and I concern
ourselves with here, adjudicate, or consider in evaluating the project. The
groups are, to us, one single entity.)
Directions to hand in your sound files (1 piece per
Morgan Brown, Beth Hayer, Nate Saperia
Liam Butler, Robert Blake
Andrew Sandoval, Louis Odette, Noah Cook-Dubin
Duncan Gilles, Chelsea Carroll, Jordan M. Edmonson
Ashley S. Carruth, Melissa Yamauchi, Brian Griffeath-Loeb
Matt Brown, Chris Langevin, Rizwan Mahmud
Nela Suka, Jessie Ward, Bart Elmore
Ron Westgate, David Gainer, Ivan Grant
Katherine A. Blumenthal, Michael J. Lee, Ritchie King
Adam Wilk, Matt Kenney, Marcus Gregg
Meredith Cashman, Bruce Gago, Thomas Cheung
Lindsay Davis, Khanh Do Ba
Darren Thomas, Laura Trouille, and David Velleman
Karisa Vruin, Sabrina Peric, Kim Marable
Kip Benson, Nathalie Cohen, Zach Rentz, Jon Sar
Isabel Casariego, Ben Young, and Chris Kane