Difference between revisions of "220C/Alexander"
From CCRMA Wiki
| Line 3: | Line 3: | ||
Product: | Product: | ||
| − | + | ** 1) An online tool that helps scholars use noise as a form of theoretical scholarship on visual images | |
| − | ** 1) a | + | |
** 2) a 3 to 5-page paper discussing the work’s theoretical implications | ** 2) a 3 to 5-page paper discussing the work’s theoretical implications | ||
Learning objectives: | Learning objectives: | ||
| − | * To build/solidify proficiency in ChuCK and Live/Max | + | * To read widely in sound studies, music theory, computer music history, sound poetics, etc |
| + | * To learn to approach sound and music from a number of interdisciplinary angles. | ||
| + | * To build/solidify proficiency in ChuCK, P5.js, and Live/Max | ||
* To think about music production as a form of practice for a scholar-practitioner | * To think about music production as a form of practice for a scholar-practitioner | ||
| − | |||
'''UPDATES''' | '''UPDATES''' | ||
| − | + | [updates to come] | |
| − | + | '''Week 7''' | |
| + | * Ported code to P5.js. | ||
| + | * Experimented with "chromatization". | ||
| + | '''Week 6''' | ||
| + | * Experimented with trove of images from forthcoming article from ILAC professor | ||
| + | |||
| + | '''Week 5''' | ||
| + | * Selected project parameters, began to build Processing code -- built out lightboxes, etc. | ||
| + | |||
| + | '''Week 4''' | ||
| + | |||
| + | Readings | ||
| + | |||
| + | * Parker VanValkenburgh, ''Alluvium and Empire: The Archaeology of Colonial Resettlement and Indigenous Persistence on Peru's North Coast'' (The University of Arizona Press, 2021) | ||
* Christoph Cox, ''Sonic Flux: Sound, Art, and Metaphysics'' (Chicago, IL: University of Chicago Press, 2018), https://press.uchicago.edu/ucp/books/book/chicago/S/bo27886631.html. | * Christoph Cox, ''Sonic Flux: Sound, Art, and Metaphysics'' (Chicago, IL: University of Chicago Press, 2018), https://press.uchicago.edu/ucp/books/book/chicago/S/bo27886631.html. | ||
| + | |||
| + | |||
| + | '''Week 3''' | ||
| + | |||
| + | Readings | ||
| + | |||
* Brian Kane, ''Sound Unseen: Acousmatic Sound in Theory and Practice'', Reprint edition (Oxford University Press, 2016) | * Brian Kane, ''Sound Unseen: Acousmatic Sound in Theory and Practice'', Reprint edition (Oxford University Press, 2016) | ||
* Douglas Kahn, ''Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts'' (University of California Press, 2013) | * Douglas Kahn, ''Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts'' (University of California Press, 2013) | ||
Revision as of 00:57, 30 May 2023
PROJECT PARAMETERS
Product:
- 1) An online tool that helps scholars use noise as a form of theoretical scholarship on visual images
- 2) a 3 to 5-page paper discussing the work’s theoretical implications
Learning objectives:
- To read widely in sound studies, music theory, computer music history, sound poetics, etc
- To learn to approach sound and music from a number of interdisciplinary angles.
- To build/solidify proficiency in ChuCK, P5.js, and Live/Max
- To think about music production as a form of practice for a scholar-practitioner
UPDATES
[updates to come]
Week 7
- Ported code to P5.js.
- Experimented with "chromatization".
Week 6
- Experimented with trove of images from forthcoming article from ILAC professor
Week 5
- Selected project parameters, began to build Processing code -- built out lightboxes, etc.
Week 4
Readings
- Parker VanValkenburgh, Alluvium and Empire: The Archaeology of Colonial Resettlement and Indigenous Persistence on Peru's North Coast (The University of Arizona Press, 2021)
- Christoph Cox, Sonic Flux: Sound, Art, and Metaphysics (Chicago, IL: University of Chicago Press, 2018), https://press.uchicago.edu/ucp/books/book/chicago/S/bo27886631.html.
Week 3
Readings
- Brian Kane, Sound Unseen: Acousmatic Sound in Theory and Practice, Reprint edition (Oxford University Press, 2016)
- Douglas Kahn, Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts (University of California Press, 2013)
This week, I experiment with the idea of chroma, of color as a metaphor for sound.
Week 2
Readings
- V. J. Manzo and Will Kuhn, Interactive Composition: Strategies Using Ableton Live and Max for Live, 1st edition (New York, NY: Oxford University Press, 2015).
- Jan Schnupp, Israel Nelken, and Andrew J. King, Auditory Neuroscience: Making Sense of Sound (The MIT Press, 2012)
- Veit Erlmann, Reason and Resonance: A History of Modern Aurality, First paperback edition (New York: Zone Books, 2014).
- Kim-Cohen, Seth. In the Blink of an Ear: Toward a Non-Cochlear Sonic Art. Illustrated edition. New York: Continuum, 2009.
I participated in a studio orientation with Matthew on Wednesday and spent Saturday afternoon and evening working through how to get a DAW up and running up to the point where I can make basic ambient music through Ableton Live.
Week 1
Readings
- Ajay Kapur et al., Programming for Musicians and Digital Artists: Creating Music with ChucK, 1st edition (Shelter Island: Manning, 2015).
- Andrew J. Nelson, The Sound of Innovation: Stanford and the Computer Music Revolution, Illustrated edition (Cambridge, MA: The MIT Press, 2015).
- Ge Wang, Artful Design: Technology in Search of the Sublime, A MusiComic Manifesto (Stanford: Stanford University Press, 2018).
I have been giving myself a bootcamp education in ChuCK – I worked through a textbook and am now able to complete work up to MUSIC 220A and half of MUSIC 220B. I am also exploring other software ecologies (Max/MSP, PureData etc). I have also been reading up on the relationship between the sonic avant-gardes of mid-twentieth century America and contemporary discourse on poetics, sound studies, and art history to see what theoretical interventions made in music look like.
