Technology In Music And Related Arts (TIMARA) Department

Conservatory of Music Oberlin College The TIMARA Department offers a four-year curriculum leading to the Bachelor of Music Degree with a major in electronic and computer music.

FACULTY

MAJOR STUDY: ELECTRONIC AND COMPUTER MUSIC 

Course Requirements          Recommended Course Distribution
                              fresh   soph    junior  senior
Hours
  6 Technology 202-203
     (Electronic Music I-II)   3   3   
  6 Technology 212-213
     (Computer Music I-II)     -   -   3   3
 12 300-level TIMARA courses)  -   -   -   -   3   3   3   3
  6 Technology 402 
     (Independent Project)     -   -   -   -   -   -   3   3
 12 Theory 131,132,231,232
     (Fundamentals of Music
      Theory I-IV)*1           3   3   3   3
  2 Music Theory 102
     (Aural Skills)*2          -   -   2
  6 Upper Division Music
       Theory electives*3      -   -   -   -   3   3   
  4 Music History 101*4
     (Introduction to
      the History and
      Literature of Music)     4
  6 Music History/
      Ethnomusicology
      electives*5              -   3   -   -   3
  4 Secondary Private Study*6  2   2
  8 Ensemble Electives*7       1   1   1   1   1   1   1   1
 18 Music electives*8          -   -   3   3   3   3   3   3
 10 Free electives*9           -   -   -   3   -   3   2   2
 24 Liberal Arts electives*9   3   3   3   3   3   3   3   3

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124                           16  15  15  16  16  16  15  15

NON-COURSE REQUIREMENTS 

Committee Examinations*10
   First Major Committee       -   *
   Second Major Committee      -   -   -   *
Performance Requirement:
   TIMARA Departmental
   Recitals*11                 *   *   *   *   
   Junior Recital or Project   -   -   -   -  (*) (*)
   Senior Recital or Project   -   -   -   -   -   - (*) (*)
*1 Part or all of the Music Theory 131, 132, 231, 232 requirement may be waived by placement examination when the student enters Oberlin. If waived, a corresponding number of credit hours must be added in music electives. The requirement in music theory will be met upon completion of Music Theory 232 (Fundamentals of Music Theory IV). *2 Depending on the results of the placement examination, some students may be required to take Music Theory 100 as a prerequisite to 102. *3 Although the choice of upper division Music Theory courses is free, courses in twentieth century music such as the following are strongly recommended:

*4 Music History 101 may be waived by placement examination when the student enters Oberlin.

*5 Although the choice of upper division History- Ethnomusicology courses is free, the following courses are recommended:

*6 This requirement is intended to give TIMARA majors experience in private study at their level of performance proficiency. Studies may be undertaken in any performance medium offered by the Conservatory. The requirement may be satisfied by completion of APST 110-111.

*7 The ensemble requirement may be satisfied by membership in Conservatory ensembles and EXCO ensembles that are offered for credit.

*8 This may include additional courses in the TIMARA Department but students are urged to strive for balance in the choice of electives. The following courses are recommended:

*9 A minimum of 76 hours in the Conservatory and 24 hours in Liberal Arts are required for graduation. Because Music Technology is related to many other subject areas, electives should be carefully chosen in consultation with an advisor. Typical areas for electives are computer science, physics, theater, dance, and the studio arts including photography and video.

*10 Portfolios of representative work must be submitted to the TIMARA Faculty at the end of the first and second years in the major. The faculty will evaluate the work and make recommendations for improvement if deficiencies are recognized. The faculty may also require a practical oral examination in one of the TIMARA studios if appropriate after reviewing the portfolio.

*11 Four recital appearances are required by the end of the sophomore year. At least one performance is required in the freshman year. These appearances may take place on one of the regular TIMARA student concerts or on another concert approved by the TIMARA Faculty.

The major in electronic and computer music is intended for those students who desire a career where traditional musical skills and understanding are combined with the exploration of the very newest techniques for musical expression. It is expected that students who qualify for this major will demonstrate musical proficiency comparable to that shown by applicants in other areas such as performance and composition.

The major prepares the student for specialized graduate study in electronic and computer music. For those who go directly into professional life this major offers a structured course of study that stresses the application of technology as a special resource in composition and performance.

ADMISSION TO THE MAJOR

Admission to the major will be based on a personal interview and on materials submitted to the TIMARA Faculty. These materials may consist of audio tapes and scores of original works and performances in technological media. Research papers and other evidence of preparation may also be submitted for consideration by the Faculty. Students with performance skills on traditional instruments or voice will be expected demonstrate those skills during the interview.

MAJOR STATUS

Freshman major status is attained upon admission to the Conservatory of Music as a major in electronic and computer music. After completion of 6 hours in Tech 202-203, one appearance on a TIMARA student recital and approval of freshman portfolio a student gains sophomore major status. The student will submit a portfolio of tapes and papers to the Faculty for review. Approval by the Faculty confers sophomore major status. Junior major status is attained after completing Tech 212-213, and four recital appearances, and approval of the sophomore portfolio. Senior status is reached after completion of 24 hours and the junior recital.

ELECTRONIC AND COMPUTER MUSIC AS A SECOND MAJOR

Students admitted to other degree programs in the Conservatory may elect electronic and computer music as a second major. Requirements are the same as those outlined above for the primary major in electronic and computer music Although there is a significant overlap in Music Theory and Music History requirements and in non-course requirements with other departments, it may not be possible to complete a double major program in four years. Students contemplating such a plan should consult an adviser at the earliest possible time.

MUSIC THEORY REQUIREMENT

The TIMARA Faculty expects majors to register for the appropriate Fundamentals of Music Theory courses (beginning with that indicated by placement test scores) each semester until Fundamentals of Music Theory requirements are completed. Double degree students will resolve any conflicts with these expectations with their advisors.

AURAL SKILLS REQUIREMENT

Students must pass one course at the intermediate or advanced level.

THE FIRST AND SECOND MAJOR COMMITTEES

At the end of the first and second years in the major, portfolios of representative work must be submitted to the TIMARA Faculty. The Faculty will evaluate the work and make recommendations for improvement if deficiencies are recognized. The Faculty may also require a practical oral examination in one of the TIMARA studios after reviewing the portfolio.

THE JUNIOR RECITAL OR PROJECT

In the junior year the major will make a public presentation of work. This may take the form of a 30-minute recital of original works, a lecture/demonstration on a topic from the field, or some other forum approved by the TIMARA Faculty.

THE SENIOR RECITAL OR PROJECT

The culmination of the student's work for the major will be the presentation of a senior recital of original works, a performance using technological media, or a senior thesis. The student will present a proposal for this senior year project to the TIMARA Faculty at the end of the junior year.

COURSE DESCRIPTIONS

103. INTRODUCTION TO MUSIC TECHNOLOGY I

First semester. A survey of the relationships between music and 20th century technology. Review of important figures and works in technological media. Discussion of the impact of new media on the esthetics, thought processes, and working methods of the composer. Introduction to MIDI, acoustics, tape recording and mixing techniques, and analog sound synthesis. Fundamental concepts of performance and composition using music synthesizers. Practical work in Electronic Music Studios using modular analog synthesizers, digital keyboards, Macintosh computers and stereo recording to gain an appreciation for the potential and limitations of new means of making music. Bibliography and discography of electronic music. Opportunities for individual creative projects. Prerequisite, consent of instructor. Preference is given to students for whom this course is required. Enrollment limit, 20.

104. INTRODUCTION TO MUSIC TECHNOLOGY II

Second semester. A continuation of Technology 103. Additional techniques for digital sound synthesis. More work in theoretical and esthetic issues relating to music technology. Elementary psychoacoustics (response of the human ear, thresholds of perception, subjective vs. objective measurements of sound). Mathematical concepts relating to sound synthesis and acoustic analysis. Sound systems for performance of electronic music, and composition techniques for mixing electronic sounds with traditional musical media. Analytical methods for approaching music technology literature. Prerequisite, Technology 103 and consent of instructor. Preference is given to students for whom this course is required. Enrollment limit, 20.

202. ELECTRONIC MUSIC I

First semester. The theory and practice of work in a large sound synthesis studio. Instruction in the use of a variety of music synthesizers, multi-channel mixers, 4- and 8-track recorders, monitoring systems, and various interface and test equipment. Exploration of methods of timbre synthesis (additive, subtractive, frequency and amplitude modulation). Discussion of composition techniques and problems of live electronic performance. Introduction of computers as control devices for synthesizers. Computer programming with applications to music processing. Emphasis on practical work and the realization of individual creative projects. Prerequisite, Technology 104 or consent of instructor. In extraordinary cases students with a high level of preparation in music theory, composition, or electronic music may be admitted by consent of instructor without having completed Technology 104. Enrollment limit, 15.

203. ELECTRONIC MUSIC II

Second semester. Continuation of Technology 202. Expanding repertoire of studio techniques (sampling, direct-to-disk recording, and digital editing). Procedures for interfacing microcomputers and synthesizers and methods of programming for the production and control of complex sound patterns. Concentration on the consolidation and polishing of synthesis skills within the context of individual creative projects. Prerequisite, Technology 202 and consent of instructor. Enrollment limit, 15.

212. COMPUTER MUSIC I

First semester. Techniques for the creation and/or transcription of music for performance under computer control. Introduction to MAX (an object-oriented, interactive musical programming language) with problems drawn from music theory and composition. Concept and design of computer "instruments". General introduction to theories of digital sound generation, sampling, and editing. Investigation of timbre synthesis by means of frequency modulation. Practical work with Macintosh computers in the Computer Music Studio. Projects emphasizing individual creative goals. Aural and theoretical analysis of works composed with the aid of computers. Prerequisites, Technology 203 and consent of instructor. In extraordinary cases students with a high level of preparation in music theory, composition, or computer music may be admitted with the consent of the instructor without having completed Technology 203. Enrollment limit, 15.

213. COMPUTER MUSIC II

Second semester. Continuation of Technology 212. Investigation of theoretical aspects of digital synthesis in greater detail (sampling theory, signal processing, and program design). Relevant concepts in elementary mathematics will be introduced. Survey of computer music programs and systems in current use. Discussion and application of algorithms for computer-assisted composition. Investigation of real-time techniques using the Macintosh computer, MIDI, and digital sound synthesizers. Individual creative projects stressing the unique capabilities of digital music systems. Prerequisite, Technology 212 and consent of instructor. Enrollment limit, 15.

220, 221. ANALOG AND DIGITAL CIRCUIT DESIGN

First and second semesters. A year course offered in alternate years. The first semester concentrates on the theory and design of the basic components found in analog electronic music synthesizing systems. The second semester expands into systems design employing digital circuitry and components used in hybrid systems. Practical work in TIMARA electronics laboratory. Admission by consent of instructor. Enrollment limit, 15.

330. STUDIO RECORDING

First semester. An advanced course in the theory and application of studio equipment to the recording of acoustic and electronic musical instruments at the professional level. Students will learn the proper use of multitrack recording equipment including multitrack tape recorders, analog and digital tape recorders, mixing consoles, signal processing devices, and microphones. Assigned projects will include multitrack recordings, direct to stereo recordings, and advanced tape editing. Other topics to be discussed will be the history of audio recording, analog tape deck calibration, and comparative production techniques. Prerequisite, Junior standing in the TIMARA major and consent of the instructor. Enrollment limit, 10.

402. INDEPENDENT PROJECT IN MUSIC TECHNOLOGY

TECHNOLOGY 320 SPECIAL TOPICS 92-95

SAMPLING, SIGNAL PROCESSING, AND SOFTWARE SYNTHESIS

First Semester. An advanced course in digital sound synthesis. Hardware will include a Macintosh IIcx computer with an Audiomedia board for AD/DA conversion and Ensoniq EPS sampling keyboard for real-time playback. Software will include Sound Designer, Alchemy, Turbosynth, Lemur, SoundHack, with special emphasis on Csound. The focus will be on the creation of original tape compositions by sampling and computing sound files, transforming them by various signal processing methods, editing them digitally, and recording the results to DAT. In our study of Csound we will study common signal processing methods in detail and do some elementary programming in the C language to create original signal processing modules. Prerequisite: Technology 213, and consent of instructor.

PROJECTS IN INTERACTIVE COMPOSITION

First Semester. An advanced course exploring real-time interactive techniques using the MAX programming language and MIDI. Creative projects will cover various topics including score-following, computer- controlled signal processing, and music algorithms. Discussions will cover the wider implications of interactive composition for virtual reality, multi-media and music composition. Prerequisite Technology 213, and consent of instructor.

MATHEMATICAL MODELS FOR MUSICAL COMPOSITION

Second Semester. A seminar on the use of fractals, chaos, Lindenmayer- systems, genetic algorithms, iterated function systems and other mathematical models in building music structure. Practical work will be done on Macintosh computers using the MAX object-oriented programming language. We will explore the fundamentals of the mathematical models through reading and interactive programs that illustrate the models in the graphic domain. We will discuss mapping of mathematical structures onto musical parameters and each student will produce one or more original compositions using electronic sounds. Students will document each composition in a technical report that conforms to publication guidelines of the Computer Music Journal.

COMPUTER LISTENING AND COMPUTER IMPROVISATION

Second Semester. A small seminar class where students will use MAX to design and develop their own music applications which will be used in several composition projects. Issues of program structure, expandability, generality, and user interface will be discussed. Students will learn theoretical concepts of performance analysis and will write algorithms for improvisation. Design features of several large interactive programs will be analyzed and compared, including M, OvalTune, Cypher, Interactor, and Jam Factory.

MUSIC AND DANCE

First Semester. An advanced course taught in conjunction with an advanced dance class. Creative projects will be collaborative between musicians and dancers, and will focus on a variety of areas including improvisation and interactive techniques. Introduction to the basic principles of movement and dance, as well as to electronic music, will be covered.

INTERACTIVE COMPOSITION AND PERFORMANCE

Second Semester. A seminar on the use of MIDI controllers with interactive computer music systems. Practical work will be done on Macintosh computers using the MAX object- oriented programming language. Members of the workshop will compose and perform works involving interaction with composition algorithms and with other performers. In the first half of the semester we will discuss the fundamentals of MIDI controllers, the structure of interactive systems and related composition techniques. In the second half of the semester we will focus on rehearsal techniques for interactive performance and on the preparation of works for concert. Each student will perform on a MIDI controller of his/her choice and each will compose an extended work for a MIDI ensemble.

MUSIC AND VISUAL ARTS

Second Semester. An advanced music technology course that will have contact with an advanced art course; the classes will meet to focus on aspects of works in progress from both areas. Creative projects will focus on individual composition with the inclusion of visual art such as video and/or slide projections, as well as experimentation with interactive technology. Possible topics include: principles of film scoring, historical development of multimedia, current trends in music and video art, and music and visual art in an installation setting.

ELECTROMEDIA: MUSIC AND ANIMATION

First Semester, 1994. This course is an advanced music technology course in which creative projects will focus on individual electroacoustic music composition presented with two-dimensional animated art. The purpose of the course is to expose the electronic composer to basic principles of computer-assisted animation; therefore, the course will focus on such topics as: human motion and movement, music and animated dance, and stop action animation. Fundamentals in drawing and painting software will be covered, as will animation packages such as Adobe Premiere and MacroMedia Director. Professionals from the areas of dance, photography, and multimedia will present lectures on kinesthetics, lighting, framing, composition, and three-dimensional animation.

EXPERIMENTAL ELECTRONIC ART

Second Semester, 1995. An advanced course in electronmedia--music, video, and animation, as well as movement and dance--that will focus on the experimental creation of works. Students will design compositions around those participating in the course. As the title suggests, this course is experimental; meditation, body awareness, and group improvisation will be explored through active participation and assigned readings or videos. Topics/composers to be covered include: Pauline Oliveros, Sonic Mediations and Deep Listening exercises; Ken Gaburo, Twenty Sensing Compositions; Nam Jun Paik; Christo; and Merce Cunningham/John Cage collaborations. Two large-scale performances will be arranged (the first in Warner Concert Hall, the second at Carr pool).