Passing On the Composer’s Art: Curriculum for Creating Music with Technology Dr. Michael Nord...

Passing On the Composer’s Art: Curriculum for Creating Music with

Technology

Dr. Michael NordWillamette University Department of [email protected]

Passing On the Composer’s Art: Curriculum for Creating Music with Technology

MUSC 121: Creating Music With Technology (Non-majors)

The Catalog: Creating music offers both insight into the composer's art form and a means of personal expression. Current technology allows the opportunity to compose music even to those without traditional skills or training. Intended for the non-music major, this hands-on class will directly involve students in the creation and recording of original music and sound resources. Final project recordings will be presented in a virtual concert.

The Course Handout: This class has two overarching concerns. The first is that you gain insight into processes and materials used by composers. The second is that you develop insight and technique with regard to the use of technology as a compositional medium. Ideas will be explored through classroom presentations, reading, and the primary mode of the class, hands-on creative work. The degree to which your insights and technique develop will be directly related to the thoughtfulness, thoroughness, and willingness to experiment that you bring to your work. A high degree of each is expected.

What


What: context

Small Liberal Arts Institution

M.O.I. RequirementsCourses that satisfy this requirement would seek to provide an

understanding of the creative process as a means of discovery, exploration and self-expression. Students in these courses should:

acquire basic experience in an artistic medium; develop an understanding and appreciation for process in creative expression; negotiate between conceptual ideas and spontaneous opportunity/discovery; discover expression;• exhibit or present their work publicly.


What: context

Facility

Lab: 8 student workstations + 1 teaching station, audio system with digital and analog recording/playbacl

Hardware: Mac G4 450/256/30/zip Alesis QS8, Digi001, Headphones

Software: MicrologicAV, BiasPeak, Soundiver, Finale, ProToolsLE

http://www.willamette.edu/cla/music/mtl/mtl.htm

Aims: • personal expression• musical and technological literacy (“2 strands”)• deepen conceptual understanding and aesthetic sensitivity• increase musical and technological skills • attitudinal-

-music is for everyone-connect music theory to music-foster an inclination for musical thinking-build confidence- nurture support for music as a vital part of educating

Goals:• Students will use create compositions within specified guidelines • Students will develop skills for critiquing and describing musical works

• Students will create synthesized sounds and libraries • Students will develop skills at creating and manipulating digital audio• Students will develop music production skills• Students will present their work in a public arena


What: Aims and Goals


Why

Ideals:-aesthetic insight-creative liberation-democratization/inclusion

Pragmatics:-service to the campus beyond the music building-community support for music and music education

•As humans, we are innately capable of musical expression and creativity.• In the digital age one may create and produce musically meaningful works with skill-sets alternative to those necessary in previous times.•Music is not a style. Musical value is not determined by style

•It is not merely the presence of technology, but rather it is the

means by which technology is engaged wherein lies the potential

for improvement in learning.


Underlying Assumptions

“Good teaching should have a sound basis in philosophy, both in music and in education”

Webster (2000)


How


Constructivism is an approach to teaching the seeks to facilitate students’ practical understanding of the subject matter by engaging them in explorative and creative problem solving and reflection.

Frameworks for these explorations are not boundless. Rather they are carefully crafted in response to curriculum content.

A constructivist approach emphasizes the “technology as tool” over the “technology as tutor” model

How : Constructivism as a foundation

Use technology to provide unique opportunities for exploration and problem solving in the materials of music. In other words, music technology is most potent when used as a “tool” (as opposed to as a “tutor”) allowing students to engage and manipulate the basic building blocks of musical works; pitch, timbre, rhythm, form, and dynamics.

Constructivism as a foundation


How :


How : 2 strands-music and technology


How : 2 strands

2 information strands are actively accounted for, technology and music.

Teach technology in a context of musical inquiry.

Teach the music by keeping the technology as transparent as possible.

As necessary, isolate and forefront the technology so as to minimize its cognitive overhead when confronting the music learning.

Aims: • personal expression• musical and technological literacy (“2 strands”)• deepen conceptual understanding and aesthetic sensitivity• increase musical and technological skills • attitudinal-

-music is for everyone-connect music theory to music-foster an inclination for musical thinking-build confidence- nurture support for music as a vital part of educating

Goals:• Students will create compositions within specified guidelines • Students will develop skills for critiquing and describing musical works• Students will develop skills in integrated sequencing

• Students will create synthesized sounds and libraries • Students will develop skills at creating and manipulating digital audio• Students will develop music production skills• Students will present their work in a public arena


Aims and Goals


How:Unit overviews

Unit One: Getting going--MIDI Sequencing and Musical FoundationsLab : storage, security, accessTechnology : MacG4, Micrologic, MIDI, and the QS8Music : Sound qualities, Texture, Rhythm, Pitch, vertical and horizontalConceptual: develop a critiquing paradigm and skills

Operative Questions:What is Music?

What issues do composers confront?

Unit Two: Sound design-- Creation and interaction of synthesized soundTechnology : SoundDiver and the QS8Music : Timbre, Texture, Introduction to formConceptual: develop a sense of the structure, role and challenges of timbre and

textureOperative Questions:

What makes a timbre?What issues do composers confront in using timbre?


How:Unit overviews

Unit Three:Melody and FormTechnology : Micrologic, QS8

Music : Form, MelodyConceptual: develop a sense of form and its challenges, develop a sense and

techniques for melodic variationOperative Questions:

How can we take a musical idea and develop it?How can we use form expressively?

Unit Four: Sound designII-- Digital AudioTechnology : Bias Peak, DIGI 001, Microphones, Web ResourcesMusic : Arranging, form, “Musique concrete”, production valueConceptual: develop a sense of audio structure, sampling theory

Operative Questions: How might audio resources be integrated as compositional resources.

What is the role of sound manipulation in production?


How:Unit overviews

Unit Five: Putting it together-An extended piece with integrated sequencing(midterm project)

Technology : MicroLogic, SoundDiver, Bias Peak, DIGI 001, Microphones, QS8Music : Create an original work in three sectionsConceptual: confront the challenges of creating an extended formal work, creating artist statements

Operative Questions: What does one confront in creating an extended work. How does one

communicate artistic issues.

Creating Music with Technology

MUSC-121 Spring 2002 Dr. Nord Midterm project

Part ADevelop and record a new composition consistent with the parameters outlined below:

A minimum of 3 contrasting sections, or 2 contrasting sections with at least one section repeated with some kind of significant variation (i.e. A B A1 ) “Contrasting” implies that sections will have little or no overlapping material.

Audio (may be original or borrowed) and MIDI data Explicit use of melodic development devices A duration of between 3 and 8 minutes Volume and Pan assignments entered via fader or pencil Use of at least one original sound created in Soundiver Use of your own mix created in Soundiver

Part BA paper of no more than 5 pages in which you include:

Your artistic conception and goals for the piece The musical ideas and their development through the composition process The technical processes and procedures involved in your work. The technical lessons learned. The compositional lessons learned. The compositional tools used (e.g. melodic development techniques)

A discussion of the overall process and its implications for both your aesthetic understanding and future work

Prepare a separate Artist’s Statement. Artist’s Statement Guidelines:

Artist statements provide your audience with a concise background that will help them more fully appreciate your piece. One or two paragraphs should be fine. Your artistic conception and goals for the piece The musical ideas and their development through the composition process The technical processes and procedures involved in your work. Information about you or your background

DUE March 28 (class presentations) Late Projects will not be accepted I will collect your library file and your Micrologic file(s) .

Papers should be hard copy.

Parts may be submitted in advance for supervised revision. You are strongly urged to use this opportunity for feedback and improvement.


How:Unit overviews

Unit Six: Putting it together II-An extended piece in Sonata-allegro form

Technology: MicroLogic, SoundDiver, Bias Peak, DIGI 001, Microphones, QS8, CD-RMusic: Create an original work using sonata-allegro form, refine production techniqueConceptual: confront the challenges of creating an extended formal work, refine production sensitivity

Operative Questions: What are the challenges in confronting extended works?How does “production value” serve as a musical resource?


MUSC-121 Spring 2001 Final projectDr. Nord


Adherence to Sonata-Allegro framework Your piece must contain audio (may be original or borrowed) and MIDI data ( original sound designs for the QS8) A duration of between 3 and 8 minutes A fully realized mix

The piece must be submitted in Audio format (I can help with transfers)Part BA paper of 4-6 pages in which you detail:

Your artistic conception and goals for the piece The musical ideas and their development through the composition process. Specific reference must be made to Sonata-Allegro framework elements and compositional tools used (e.g. melodic development techniques) The technical processes and procedures involved in your work. Specific reference must be made to your “designed” sound and any signal processing and mixing techniques. The technical lessons learned. The compositional lessons learned.

A discussion of the overall process and its implications for both your aesthetic understanding and future work.Attach an Artist’s Statement. This will be distributed to the class and used as part of the public presentation of your work at the semester’s end.

DUE MAY 5 (finals week class presentations) Late Projects will not be accepted

Parts may be submitted in advance for supervised revision and technical help. You are strongly urged to use this opportunity for feedback and improvement.

Generic lesson overview template

Step 1: review or introduce new concept

Step 2: review or introduce new tool“play”--lowering technology’s cognitive overheadbuild musical confidence

Step 3: present problem-model process and solutions as needed

Step 4: work time--assistance as requested/requiredshare/collectively solve roadblocks

Step 5: present “results” (perform, critique, analyze, etc. as appropriate to context)


How: lesson template


How: Unit 1 sample lesson

Resources: QS8s, Macs, Micrologic, Audio system (with taping capability), Prepared sample

Context: Students have created 8 beat rhythm patterns (written) as a HW assignment. They are prepared to perform them using a patch of their choice.

Objectives:MusicalDevelop and express aural sensitivity- critique/why questionsCreate multi-voice ostinato pieces

Objectives:TechnicalIntroduce sequencing basics


How: Unit 1 lesson sample

Process:

Step 1 Review previous class materials. Perform ostinato patterns. Combine and perform/tape ostinato patterns. Critique, clarify issues.

Step 2 Introduce Micrologic (via Network Asst.)configure “play” with my ostinato demo, discovery sharing

Step 3 Using General MIDI instruments of you choice, create a four track sequence in which each track is comprised of a looping phrase not less than 8 beats in length

Step 4 Assisted independent work time-- share/collectively solve roadblocks

Step 5 Present work, share process, critique



Resources: QS8s, Macs, SoundDiver, Audio system, sound examples, ADSR handout

Context: Students have explored and used QS8 sounds.

Objectives:MusicalDevelop and express aural sensitivity- critique/why questionsDevelop sensitivity to temporal nature of soundsCreate original timbres

Objectives:TechnicalIntroduce sound design/synthesis basicsDevelop editor skillsDevelop librarian skills



Process

Step 1 Play prepared example synth sound. Ask for observations. Provide guiding questions as necessary. Introduce ADSR concept (Handout) andsound possibilities.

Step 2 Introduce Soundiver. Introduce QS8 editing functions/tools. Share process for example. Create (jointly) a new example. Store.

Step 3 Create and store two original sounds of contrasting quality and potential function. One must start with a pure sine wave.


Step 5 Present work, share process, critique, describe potential uses



Resources: QS8s, Macs, Micrologic. Audio system,Simple Gifts CD, Example files and overview sheets

Context: Students have created pattern sequences, discussed and experimented with form, discussed and defined melody.

Objectives:MusicalCreate original melodies and variationsDevelop a sense of what makes a melody “work”Develop ability to hear and define melodic variation and development

techniques

Objectives:TechnicalIntroduce notation programs (Finale)Further develop sequencing skills



Process

Step 1 Group sing a melody some variations (rote). Discuss differences. Hand out sheet.

Step 2.Introduce Finale (i.e. notation programs). Individual listening to examples.

Step 3 Using Micrologic or Finale, Create a 4 bar melody and at least three variations, each using a different technique





Resources: DIGI001, Peak, Macs, SoundDiver, Audio system, WWW, Poem Electronique CD

Context: Students have designed and manipulated synthesized sounds.

Objectives:MusicalDevelop and express aural sensitivity- critique/why questionsDevelop sensitivity to temporal nature of soundsCreate and manipulate audio samples.

Objectives:TechnicalIntroduce sound design/audio basicsDevelop audio editing skills



Process

Step 1 Introduce digital audio issues (review and contrast MIDI, Musique concrete, Poeme Electronoque

Step 2. Introduce Peak. Download (WWW) samples and create an miniature audio piece built from several samples.

Step 3 Create a short audio piece built from several samples, using an ABA form.




How: Unit 5 project example 1 2


MUSC-121 Spring 2002 Dr. Nord Midterm project


A minimum of 3 contrasting sections, or 2 contrasting sections with at least one section repeated with some kind of significant variation (i.e. A B A1 ) “Contrasting” implies that sections will have little or no overlapping material.

Audio (may be original or borrowed) and MIDI data Explicit use of melodic development devices A duration of between 3 and 8 minutes Volume and Pan assignments entered via fader or pencil Use of at least one original sound created in Soundiver Use of your own mix created in Soundiver

Part BA paper of no more than 5 pages in which you include:

Your artistic conception and goals for the piece The musical ideas and their development through the composition process The technical processes and procedures involved in your work. The technical lessons learned. The compositional lessons learned. The compositional tools used (e.g. melodic development techniques)

A discussion of the overall process and its implications for both your aesthetic understanding and future work

Prepare a separate Artist’s Statement. Artist’s Statement Guidelines:

Artist statements provide your audience with a concise background that will help them more fully appreciate your piece. One or two paragraphs should be fine. Your artistic conception and goals for the piece The musical ideas and their development through the composition process The technical processes and procedures involved in your work. Information about you or your background

Invest the time to avoid step by step “how to” handout sheets. Sheets help produce great typists, but don’t do much to produce technology competence or independence


Unit 6 project example 1


Adherence to Sonata-Allegro framework Your piece must contain audio (may be original or borrowed) and MIDI data ( original sound designs for the QS8) A duration of between 3 and 8 minutes A fully realized mix

The piece must be submitted in Audio format (I can help with transfers)

Part BA paper of 4-6 pages in which you detail:

Your artistic conception and goals for the piece The musical ideas and their development through the composition process. Specific reference must be made to Sonata-Allegro framework elements and compositional tools used (e.g. melodic development techniques) The technical processes and procedures involved in your work. Specific reference must be made to your “designed” sound and any signal processing and mixing techniques. The technical lessons learned. The compositional lessons learned.

A discussion of the overall process and its implications for both your aesthetic understanding and future work.Attach an Artist’s Statement. This will be distributed to the class and used as part of the public presentation of your work at the semester’s end.

DUE MAY 5 (finals week class presentations) Late Projects will not be accepted

Parts may be submitted in advance for supervised revision and technical help. You are strongly urged to use this opportunity for feedback and improvement.

http://www.willamette.edu/cla/music/mtl/mtl.htm

[email protected]

Passing On the Composer’s Art:Curriculum for Creating Music with Technology

Passing On the Composer’s Art: Curriculum for Creating Music with Technology Dr. Michael Nord...

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