[seminars] Spring Quarter 209: Multi-Channel Composition and Spatialization (Instructors: Peter Otto, Roger Reynolds, with VISITOR Jean-Claude Risset) Hours and place of meeting: CRCA, B104 - times TBD Lab Access: Mandeville B104 General description of the course (see attached syllabus, reading and listening lists): We assume that participants will have particular creative goals in mind, goals involving the use of multichannel audio and spatialization. The aim of the seminar is to convert needs into capacities. In order to be sure that each participant develops useful strategies, we will try to separate exploratory research from actual composition or performance aims. Thus, the projects in this course are preparatory in nature, but should address particular creative needs. Ideally, more than one approach to a given need should be attempted so that the relationship between technological potential and creative goals becomes as clear as possible. The seminar projects will be directed research, in effect, explorations that prepare one to realize specific compositional aims in future works. There will be an extensive collection of readings distributed at least 2 weeks before the beginning of the Spring Quarter, and all participants are expected to be familiar with these materials and to make a presentation at the first seminar meeting indicating their aims -- in relation to the readings. We expect to meet with each seminar participant periodically during the Quarter (in addition to class meetings) to evaluate and assist. Project Proposals: Since facilities and direct assistance will be a crucial component of this seminar, we will have to have a clear picture of who is considering enrolling, and what -- in general terms -- their current aims are. Readings: 1. An Introduction to the Psychology of Hearing: "Space Perception", Brian C. J. Moore [pp. 213-244?] 2. Hearing: "Spatial Hearing and Related Phenomena," D. Wesley Grantham [pp. 297-345] 3. "Thoughts on Sound Movement and Meaning," R. Reynolds, Perspectives of New Music, Vol 16, No. 2, 1978, [pp. 181-190] 4. "Composing Sounds, bridging gaps - the musical role of the computer in my music," J.C. Risset, Musik and Technik, (H. de la Motte-Haber, R. Frisus, ed., Schott, Mainz, 1996 [pp. 152-181] 5. "Composing in real-time?" J.C. Risset, Contemporary Music Review, Vol.? Part 3, 1999 [pp. 31-39] 6. Elements of Computer Music "Rooms" (including spatial hearing), F. Richard Moore, [pp. 341 - 395] 7. "A 3-D Sound Primer: Directional Hearing and Stereo Reproduction", Gary S. Kendall, [pp.23 - 44] Computer Music Journal, Vol. 19, No. 4, Winter, 1995. 8. "Performance Practice in the Presentation of Electroacoustic Music", Alistair McDonald, [pp.88 - 92] Computer Music Journal, Vol. 19, No. 4, Winter, 1995. Listening: 1. Boulez: Repons, Dialogue De L'Ombre Double. IRCAM => IR113 2. Chowning: Turenas (1972). Wergo => WE102 3. Reynolds: Red Act Arias Suite (1997), Watershed (1995) 5. Risset: Sud, Songes 6. Mercer: Contraptionization (2000) 7. Xenakis: Persephone 8. Reynolds: Red Act Arias Suite 9. Subotnick Ascent into Air Tentative Syllabus Outline: April 4 (PO, RR) Introduction: presentation of project proposals (in accord with preparatory readings) by participants. Presentation by Chris Mercer of recent multichannel work; 15 min. discussion. WCE (Wine and Cheese Event). April 11 (PO, RR) Otto survey: Subotnick, Berio, Stockhausen, Chowning April 18 (RR) Reynolds survey: Criteria and strategies for effective spatialization, illustrated with VOICESPACE I and IV; The Red Act Arias, JUSTICE April 25 (PO, RR, JCR) Real time: Reynolds: Watershed; Risset: Disclavier pieces, remarks on live control of diffusion, spatial chords from Phases/Piece (for orchestra) in progress. May 2 (PO, RR, JCR) Risset survey: "real" vs "illusory" space (Dialogues, Inharmonique, Songes), pitch space, rhythmic space, timbral space, space as a structural parameter. May 9 (PO, JCR) Interfaces and software and hardware environments for spatialization: use of Music V, space motion programs, hardware (joysticks and potentiometers), Holophone (a program in progress) May 16 (PO) Workshop on Otto spatwork environment May 23 (PO, RR) Projects 1 May 26 (special Saturday meeting) (PO, RR) Projects 2. May 30 (PO, RR) Projects 3 There will be an extensive collection of readings distributed 2 weeks before the beginning of the Spring Quarter, and all participants are expected to be familiar with these materials and to make a presentation at the first seminar meeting indicating their aims -- in relation to the readings. We expect to meet with each seminar participant periodically during the Quarter (in addition to class meetings) to evaluate and assist. Project Proposals: Since facilities and direct assistance will be a crucial component of this seminar, we will have to have a clear picture of who is considering enrolling, and what -- in general terms -- their current aims are. Anyone who expects to enroll in this seminar should get a one-page written proposal to us by 1 March, at the latest. Required Paper: A brief but substantive paper is also required. It will be in two parts, the first containing poetic, creative ideals in relation to space and music as you conceive their relationship; the second a specific case study setting out what your research goals were for the seminar (and, if possible, an evaluation of what was learned).