Music 80C Week 4 Homework Notes
Music 80C Week 4 Homework Notes MUSC 80C - 01
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This 3 page Bundle was uploaded by Elizabeth Garcia on Wednesday October 14, 2015. The Bundle belongs to MUSC 80C - 01 at University of California - Santa Cruz taught by Polansky,L. in Fall 2015. Since its upload, it has received 124 views.
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Date Created: 10/14/15
Music 80C Week 4 Homework Notes Automated Composition in Retrospect 19561986 by Charles Ames Well known automated compositions are exist by Lejaren Hiller amp Iannis Xenakis The creation of Push Button Berthaquot 1956 Martin Kleen amp Douglas Bolitoh composed Tin Pan Alley Melodies computer called DATARONquot 170 The program motivates DATARON to pick successive notes at random testing each for melodic acceptability as it goes alongquot 170 H H ona The creation of Illiac Suitequot The same method used by Kleen amp Bolitoh was developed independently by Lejaren Hiller amp Leonard Isaacson at the University of Illonoisquot They created the Urbana School 19571966 one of the earliest electronic music studios 170 The ILLIAC computer was used to experiment with and what resulted was the Illiac Suitequot for string quartet Steps of the ILLIAC computer system 1 random selectionquot 170 2 Markov chains also random in which the relative likelihood of each option was conditioned by one or more immediately preceding choicesquot 170 James Tenney studied at Urbana as a graduate student He was inspired by Xenakis Pithoprakta amp Archoripis Most of Tenney s composing programs generated files of numeric data which were then realized digitally by Matthew s MUSIC4 programquot Tenney s Stochastic String Quartet 1963 a the piece is divided into sections sections are controlled by graphs of musical attributes the sections are divided into structural units called clangs b clangs are further divided into notes each graph supplies a mean value to one or more random generations in order to select attributes for a specific clang c the program selects the length of each clang in quarter notesquot d within a clang it then selects an independent grupetto U70 e Each grupetto unit in turn divides randomly into smaller divisions Herbert Briin Sonoiferous Loops NonSequitor VI Believes that the program initiates rhythm the rest is play with choice amp pitch European Algorithmic Music 19601970 Began in Paris as early as 1960quot 173 Pierre Barband the first known European composer to become involved with automated compositional proceduresquot 173 European philosophy is that musical composition is an artifactum that is to say something that nature does not producequot 173 Europeans emphasized global qualities of musical passages as quantified by statistical distributionsquot 173 Europeans such as Iannis Xenakis amp Gottfried Michael Koeing were the first to conceive of a composing program as a utility capable of generating many piecesquot 173 John Myhill Scherzo a Tre Voce is the product of a program he designed which scanned all three voices at oncequot 173 Gotfried Michael Koenig Composed a program called PROECT1 in 1962 amp PROJECT 2 in 1964 PROIECTZ was used to create Ubung fiir Klavier Study for Piano 1970 musical parameters selected by PROIECTZ harmony register entry delay duration amp dynamic 176 Otto Laske composer amp musical epistemologistquot 178 blended insights from cognitive psychology formal linguistics amp artificial intelligence 178 Interactive utilities in the US amp Canada 19701978 Emmanuel Ghent amp Laurie Spiegel used GROOVE Generating Real Time Operation on Voltage Controlled Equipment first piece created on GROOVE was Ghent s Lustrum 1974 an all computerized version of this piece is called Brazen 178 Truax amp Buxton were two Canadians whom studied under Koenig amp Laskequot 179 New Approaches 19761986 Thomas DeLio s Serenade for Solo Piano 1976 Grammars application of Noam Chomsky s phrasestructure grammars to compositionquot 180 The use of topdown methodquot 180 Should Music be Reserved for an Elite By Laurie Spiegel She says no that music is inclusive and musics and their techniques and forms are cumulative not mutually exclusivequot Spiegel Computer Music Experiences by james Tenney Bell Telephone Laboratories September 1961 showed up with a dissatisfaction with all purely synthetic electronic music that he heard up to that time particularly with respect to timbrequot 23 Left in 1964 with a far better understanding of the physical basis of timbre amp a sense of the physical basis of timbre amp a sense of having achieved a significant extension of the range of timbres possible by synthetic meansquot 24 The Noise Study November December 1961 1 instrument was designed that would generate bands of noises 25 2 large scale form of the piece was sketchedquot 26 3 the details the actual note values in each parameter were determined by various methods of random number selectionquot 26 For center frequency the toss of a coin was used to determine whether the pitch of the note was constant or varyingquot 28 4 These notevalues in numerical form were used as the input score for the music program 26 5 This tape was mixed with the same tape rerecorded at half of double speedsquot 26 IIIiac Suite by Lejaren HiIIer amp Leonard Isaacscon Listen to it here httpswwwyoutubecomwatchvn0njBFLQSk8 Appalachian Groove by Laurie Speigel Listen to it here httpswwwyoutubecomwatchvTFaUAAjOubg Phases by james Tenney Listen to it here httpswwwyoutubecomwatchvLmh4dAlquk
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