Syllabus

The performance is scheduled for Sunday, 12/9, 8-11pm:

Note: The show is the final class meeting. Class will not meet on 12/11/2012

• Create your performance plan. (Does not need to be handed in.) The key idea is to map out how your performance will proceed – how it will begin, how it will unfold, and how it will end. Use the performance planning strategy that makes the most sense for your piece and for your instrument.

• (Does not need to be handed in.) Create your performance plan. The key idea is to map out how your performance will proceed – how it will begin, how it will unfold, and how it will end. Use the performance planning strategy that makes the most sense for your piece and for your instrument.

• Possibilities include:
• a graphic representation of the timeline or event possibilities for you to follow during your performance.
• a traditionally notated score, or variation on traditional music notation (including devising your own notation scheme for your instrument).
• a bullet point list describing the sequence of events you want to move through during the performance, articulating particularly the beginning and end.
• or create your own notion of what a score could be, (as long as you speak to its validity as a performance planning tool).

• List your equipment needs in the spreadsheet: Equipment Spreadsheet
• Create your performance plan. The key idea is to map out how your performance will proceed – how it will begin, how it will unfold, and how it will end. Use the performance planning strategy that makes the most sense for your piece and for your instrument.

• Possibilities include:

• Assignment
  • List your equipment needs in te spreadsheet: Equipment Spreadsheet

Artist's presentation by Lesley Flannigan

(11/13) Week 10: Studio Class – Audio Engineering

Performance Critique: vienna vegetable orchestra

(11/20) Week 11: Prototype Updates and Performance Planning and Composition

In this class, students will give brief updates of their musical interface prototypes, in a forum for class/instructor evaluation and feedback.

• John Tymkiw

Guest Critics

• Lesley Flannigan
• Scott Gursky

Presenters:
- Amar - Tony - Guilherme - Ioni - Francis - Johann - Owen

(11/6) Week 9: Concept Presentations 2

There will also be an artist's presentation by Lesley Flannigan

• Lesley Flannigan

Class Cancelled.

Weeks 9 - 11: Development

(11/6) Week 9:

• Lesley Flannigan ?

(11/13) Week 10: Studio Class – Audio Engineering and Performance Planning and Composition

Guest Lecturer: Paul Geluso

Basics of using Microphones, Mixing Consoles, outboard processing.

(10/30) Week 8: Concept Presentations 2 Hurricane Sandy

Presenters:
- Matt

Presenters:

   Matt

• John Tymkiw

Presenters - Matt - Danne - Jee Won - Lisa - Roopa - Ann - Luisa

The V Motion Project [3.5min]

The V Motion Project 3.5min]

Performance Critique:
Daedelus - Live in San Antonio - Outtro (local mirror) [2min]
The V Motion Project

• Prepare a 5 -7 minute Concept Presentation

• If you don't have a final project planned, be prepared with questions for the class that will help you home-in on a final concept

• Assignment
  • Prepare a Project Plan for you instrument
  • If you don't have a final concept, choose an alternate ("runner-up") concept and make a project plan for that
  • The Project Plan should include a time - table that will have your instrument and performance ready in time for dress rehearsal
  • Hand in a version of the project plan - printed on paper - at the beginning of class on week 5
  • Be ready to talk about your concept in class on week 5

(10/2) Week 5: Concept Discussions

Discussion about the upcoming concept Presentations.

(10/9) Week 6: Physical Computing for NIME

• Types of sound synthesis: http://en.wikipedia.org/wiki/Synthesizer#Types_of_synthesis

• concept_presentation_guidelines

Example patches from class: http://droolcup.com/share/NIME_F2012.zip

(11/6) Week 9: Performance Planning and Composition

Guest Presenter: Lesley Flannigan

Performance Critique: vienna vegetable orchestra

(11/13) Week 10: Studio Class – Audio Engineering

Guest Lecturer: Paul Geluso

Possible offsite visit to a recording studio. Basics of using Microphones, Mixing Consoles, outboard processing.

• Jeff Feddersen

• Scott Gursky

• Michael Schneider

• or download and install it on your own computer: http://cycling74.com/products/max/

• (there's a fully functional 30 day free trial)
• (it's possible to use the ER laptops to do your programming and then run the "patch" on your own computer even if you don't have Max/MSP installed)

• Also, prepare for next week's Intro to Max/MSP

• (it's possible to use the ER laptops to do your programming and then you can run the "patch" on your own computer even if you don't have Max/MSP installed)

• (there's a fully functional 30 free trial)
• (it's possible to use the ER laptops to do your programming and then you can run the program on your own computer even if you don't have Max/MSP installed)

• Also, prepare for next week's Into to Max/MSP
  • bring a laptop to class with Max/MSP
  • you can borrow one from the ER
  • or download and instal it on your own computer: http://cycling74.com/products/max/

• Antonius
• Merche
• Nick

• Resident Researchers

• Antonius
• Merche
• Nick

Antonius Merche Nick

• Greg after class and by appointment (arrange via email)

• Resident Researchers as per their schedules: https://itp.nyu.edu/inwiki/
• Greg after class and by Appointment (arrange via email)

Guest Presentation: Tristan Perich http://www.tristanperich.com/

• optional: "Like" the ITP NIME Facebook page: https://www.facebook.com/pages/NIME-ITP/147688535266559

• optional: Like the ITP NIME Facebook page: https://www.facebook.com/pages/NIME-ITP/147688535266559

Guest Lecturer: Paul Geluso

Possible offsite visit to a recording studio. Basics of using Microphones, Mixing Consoles, outboard processing.

Create your performance plan. The key idea is to map out how your performance will proceed – how it will begin, how it will unfold, and how it will end. This material needs to be handed in on paper. Use the performance planning strategy that makes the most sense for your piece and for your instrument.

• a graphic representation of the timeline or event possibilities for you to follow during your performance.
• a traditionally notated score, or variation on traditional music notation (including devising your own notation scheme for your instrument).
• a bullet point list describing the sequence of events you want to move through during the performance, articulating particularly the beginning and end.
• or create your own notion of what a score could be, (as long as you speak to its validity as a performance planning tool).

BE ABLE to close your eyes and walk through your whole performance from pre-beginning to post-end. Rehearse it on the subway train, when you’re walking. The key for each rehearsal, real or imagined, is maintaining continuity. Do not stop or let it be interrupted. It can fast or glacially slow, but it must be continuous.

Full class workshop. Create detailed work assignments and setup duties for each student for the show.

One of our collective tasks for the semester will be preparing for the concert at the end of the semester. There will be a number of tasks to be taken care of, including choosing a venue, making a poster, creating a program, promotion, etc. The primary responsibility for running the show will fall to the Resident Researchers. Time will be spent discussing and preparing for the show both in and outside of class.

Frequently, we will watch a video of a performance then critique it. The point is to focus on what is happening in the performance rather than whether we liked it or not. The discussion can cover any topic, with the emphasis being on what can be gleaned about music composition and performance. Rather than statements like, “I liked it” or “it sucked,” focus should be placed on the the factors that contribute to your aesthetic reaction. The composition, timbres, the performance itself, how the parts relate to the whole, whether the gestures fit with the sound, etc. What do you think worked well, what aspects could have been improved and how. What did you learn from studying the performance. This kind of critical mindset can be very valuable for developing a keen sense of listening, though it can be a bit difficult to learn at first.

Introductions. Info about the class. Discussion about first instrument building assignment.

• Instructor: Greg Shakar
• http://itp.nyu.edu/nime/show/gmail.png

• Instructor: Greg Shakar http://itp.nyu.edu/nime/show/gmail.png

• NIME specific Residents: Antonius Wiriadjaja, Merche Blasco, Nick Yulman

• Office Hours:
  • Resident Researchers as per their schedules
  • Greg after class and by Appointment

While the central purpose of this class is to produce and perform an instrument, there are a number of assignments and readings that are also required. These are designed to bring clarity, structure, and inspiration to the process. Unless otherwise specified, the assignments and readings are always due the week after they are assigned (i.e. the next class).

In order to support an iterative instrument-design and composition process, everyone is required to bring works-in-progress to class each week for demonstration and feedback. At the very least, be prepared to discuss what progress you've made. Also helpful will be questions, thoughts and discoveries for us to discuss as a group, so make sure to have something in mind to say for each class session.

One of our collective tasks for the semester will be preparing for the concert at the end of the semester. There will be a number of tasks to be taken care of, including choosing a venue, making a poster, creating a program, promotion, etc. The primary responsibility for running the show will fall to the Resident Researchers. Time will be spent discussing and preparing for the show both in and out of class.

Musical Instrument presentations. Introduction to Max/Msp

Guest Lecturer: Scott FitzGerald

Weeks 9 - 11: Development

(11/6) Week 9: Studio Class – Audio Engineering

(11/13) Week 10: Performance Planning and Composition

(11/20) Week 11: Prototype Updates

(11/27) Week 12: Preparation for show & Workshopping

Performance Critique: Quadrotor concert

Performance Critique: Qaudrotor concert

(9/25) Week 4: Planning

Musical Instrument presentations. Project Planning and Prototyping

(9/11) Week 2: Sound

Musical Instrument presentations. Physics of sound. Musical Instruments. Control vs Synthesis

(9/18) Week 3: Synthesis

Musical Instrument presentations. Introduction to Pure Data (PD) ( or Max/Msp )

• TBD
• TBD

• TBD

Guest Lecturer: Sherri Wasserman

• Sherri Wasserman

(9/4) Week 1: Start

Introductions. Info about the class. Discussion about first instrument buiding assignment.

• b) Prepare a one minute performance to played in class. Don't talk about your instrument – play a piece of music with it

• reading / listening / viewing
  • optional: The importance of parameter mapping in electronic instrument design (local mirror), by Andy Hunt, Marcelo Wanderley, and Matthew Paradis

(9/11) Week 2: Musical Instrument presentations. Physics of sound. Musical Instruments. Control vs Synthesis

• Create another instrument prototype in one week.
• This time focus on either _control_ or _synthesis_
• (which ever you choose, you will do the other next week
• It may help to use this assignment as a sketch or experiment towards designing the instrument you will ultimately be building for the show at the end of the semester. You have the option of working in groups.
• Prepare a brief (one minute) performance or demo that illustrates your design decisions. (What does it do? How does it do it? Why did you do it this way?)

• reading / listening / viewing

(9/18) Week 3: Musical Instrument presentations. Introduction to Pure Data (PD) ( or Max/Msp )

• Create another instrument prototype in one week.
• focus on either _control_ or _synthesis_
• which ever you chose last week, this time do the other
• It may help to use this assignment as a sketch or experiment towards designing the instrument you will ultimately be building for the show at the end of the semester. You have the option of working in groups.
• Prepare a brief (one minute) performance or demo that illustrates your design decisions. (What does it do? How does it do it? Why did you do it this way?)

• reading / listening / viewing
  • optional: Unpublished interview with Bill Verplank, Center for the Computer Research and Acoustics (CCRMA) at Stanford BillVerplankPRIMER.pdf

(9/25) Week 4: Musical Instrument presentations. Project Planning and Prototyping

(10/2) Week 5: Physical Computing for NIME

Performance Critique: Daedelus - Live in San Antonio - Outtro (local mirror) [2min]

(10/9) Week 6: Concept Discussions

Discussion about the upcoming concept Presentations.

Performance Critique: Effet Papillon - Mylene Benoit / Cie Contour Progressif (local mirror) [9min]

• Prepare a 10 minute Concept Presentation

Performance Critique:

• artificiel cubing, performance with Rubik's Cubes (video)
• Anthony Ptak, Live bar-coding: http://vimeo.com/channels/nime#8961546
• reading / listening / viewing
  • (Optional) Losing Control: Indeterminacy and Improvisation in Music Since 1950 (local mirror), Sabine Feisst

(10/16) Week ???: NO CLASS !!

(10/23) Week 7: Concept Presentations 1

(10/30) Week 8: Concept Presentations 2

Weeks 8 - 11: Development

The performance is scheduled for Sunday, 12/9, 8-11pm:

• Fall 2012 - Tuesdays 6:30-9:00pm

(9/4) Week 1: The Role of Music in Everyday Life

(9/11) Week 2: Musical Instrument presentations.

(9/18) Week 3: Introduction to Pure Data (PD)

(9/25) Week 4: Presentations of your musical instruments.

(10/2) Week 5: Concept Discussions

(10/9) Week 6: Concept Presentations 1

(10/16) Week 6.5: NO CLASS !!

(10/23) Week 7: Concept Presentations 2

(10/30) Week 8: Physical Computing for NIME

(11/6) Week 9: Studio Class – Performance Planning

(11/13) Week 10: Prototype Updates

(11/20) Week 11: Workshop

(11/27) Week 12: Final Critiques Whole Class (Class will run long: 6:30 - 10)

(12/4) Week 13: Dress Rehearsal 6:30-midnight

(SUNDAY 12/9) Week 14: The Show - ALL DAY

MANDATORY PERFORMANCE AT PUBLIC VENUE on December 9

The performance is scheduled for Sunday, 12/9, 8-11pm:

Performance Critique: vienna vegetable orchestra

(11/15) Week 10: Prototype Updates

Guest Presentation: Lesley Flannigan

In this class, students will give brief updates of their musical interface prototypes, in a forum for class/instructor evaluation and feedback.

(11/22) Week 11: Workshop

Full class workshop.

• Performance Plan / Composition Assignment - - due Nov 29th, handed in on paper

(11/29) Week 12: Final Critiques Whole Class (Class will run long: 6:30 - 10)

Brief Formal Presentations for Guest Critics

(12/6) Week 13: Dress Rehearsal 6:30-midnight

(SUNDAY 12/11) Week 14: The Show - ALL DAY

MANDATORY PERFORMANCE AT PUBLIC VENUE on December 11

The performance is scheduled for Sunday, 12/11, 8-11pm:

->As soon as I finished art school in Ohio, I took my portfolio and moved to Tokyo. Didn't speak the language, had no connections. Within three weeks I found a job working for independent art director Katsumi Asaba.

\\

Guest Critics

• Scott Gursky

• John Tymkiw

1. Cyrus
2. Eszter
3. Lynn
4. Mira
5. Michael Colombo
6. Michael Rosen
7. Bobby
8. Zachary

1. Mong
2. Jack
3. Antonius
4. Mercedes
5. Kevin
6. Carl
7. Nick
8. Dan

Guest Critics

• Scott Fitzgerald
• Sherri Wasserman

- Mong
- Jack
- Antonius
- Mercedes
- Kevin
- Carl
- Nick \\ - Dan
\\ \\ Guest Critics
- Scott Fitzgerald
- Sherri Wasserman

- Mong // - Jack // - Antonius // - Mercedes // - Kevin // - Carl // - Nick // - Dan // // // Guest Critics // - Scott Fitzgerald // - Sherri Wasserman /

- Mong - Jack - Antonius - Mercedes - Kevin - Carl - Nick - Dan

Guest Critics - Scott Fitzgerald - Sherri Wasserman

(10/4) Week 5: Concept Discussions

(10/18) Week 6: Concept Presentations 1

(10/25) Week 7: Concept Presentations 2

This class is devoted to 1/2 of the classes’ concept presentations. Students in the class present the idea they will be implementing during the term. Each presentation will be limited to 15 minutes.

Weeks 8 - 11: Prototype Development

(11/1) Week 8: Physical Computing for NIME

Guest Presentation: TBD

Guest Presentation: TBD

Guest Presentation: TBD

(9/6) Week 1: The Role of Music in Everyday Life

(9/13) Week 2: Musical Instrument presentations.

(9/20) Week 3: Introduction to Pure Data (PD)

(9/27) Week 4: Presentations of your musical instruments.

(10/4) Week 5: Concept Presentations 1

(10/18) Week 6: Concept Presentations 2

(10/25) Week 7:

(11/1) Week 8: Physical Computing for NIME

(11/8) Week 9: Studio Class – Performance Planning

(11/8) Week 10: Prototype Presentations 1

(11/15) Week 11: Prototype Presentations 2

(11/22) Week 12: Workshop

(11/29) Week 13: Work-in-Progress Review

(12/6) Week 14: Dress Rehearsal 6:30-midnight

MANDATORY PERFORMANCE AT PUBLIC VENUE on December 13

This will require you to be available for set up.

The performance is tentatively scheduled for Tuesday, 12/13, 8-11pm:

• Fall 2011 - Tuesdays 6:30-9:00pm

• You must perform with an original instrument of your creation at the NIME concert at the end of the semester in order to receive a passing grade.

• Performance Plan / Composition Assignment - - due Dec 7th, handed in on paper

• Performance Plan / Composition Assignment - - due Nov 30th, handed in on paper

This will require you to be available all day.

Weeks 12-14: Build It!

(11/23) Week 12: Workshop

Full class workshop.

• Sofy

• Jeff Feddersen

• Sarah

• John Tymkiw

Guest Critics:

• Lesley Flanigan: http://lesleyflanigan@gmail.com

Presenters:

• Sara
• Mike
• Chris
• Michelle
• Tamar
• Sofy
• Leo & Teki

Performance Critique: reacTable: improvisation demo

Presenters:

• Igal
• Andrew
• Joshua
• Julio
• Eric
• Patrick
• Lucas

In this class, students will give presentations of their musical interface prototypes, in a forum for class/instructor evaluation and feedback. The other half of the class will present this week.

Guest Critics:

• Hans-Christoph Steiner: http://at.or.at/hans/

Performance Critique:

• artificiel cubing, performance with Rubik's Cubes (video)
• Anthony Ptak, Live bar-coding: http://vimeo.com/channels/nime#8961546

Performance Critique: reacTable: improvisation demo

• Assignment to be handed in on paper at the beginning of class on Oct 26

Brief Prototype show and tell
Initial Prototypes are due. Bring your prototype to class and give a brief demo. Or you can show a video of your prototype in action.

• Assignment to be handed in on paper at the beginning of class on Oct 26
  • Write a paragraph that explains the current state of your project. What do you have so far? What is left to be done? What challenges remain? What are the unknowns?

• Performance Plan / Composition Assignment - - due Nov 23rd, handed in on paper

• Performance Plan / Composition Assignment

Brief Prototype show and tell Initial Prototypes are due. Bring your prototype to class and give a brief demo. Or you can show a video of your prototype in action.

• Reading
  • (Optional) Losing Control: Indeterminacy and Improvisation in Music Since 1950 (local mirror), Sabine Feisst

Guest Presentation: Miller Puckette

Brief Prototype show and tell Initial Prototypes are due. Bring your prototype to class and give a brief demo. Or you can show a video of your prototype in action.

Performance Critique: reacTable: improvisation demo

Possible Guest Presentation: Miller Puckette

Possible Guest Presentation: http://musicweb.ucsd.edu/people/people.php?cmd=fm_music_directory_detail&query_Full_Name=%20Miller%20Puckette&query_Active_Status=Faculty

Performance Critique: Wheel Experience - Younnat [3min]

Performance Critique: Effet Papillon - Mylene Benoit / Cie Contour Progressif (local mirror) [9min]

Performance Critique: Daedelus - Live in San Antonio - Outtro (local mirror) [2min]

Guest Presentation: Lesley Flanigan

After hearing the class presentations from the last two weeks, we respond to the ideas, with case studies of similar directions, different approaches to implementation.

Discussion about the upcoming concept Presentations.

• "Inspirational Actions": Think about a performance you have witnessed that made an indelible mark in your life, a performance you would aspire to give, a tool/system you would aspire to perform – and bring a short audio and/or video clip of it to share with the class. This can be something you have already done, but we encourage you to look to the work of other artists/musicians/performers for inspiration.

(9/21) Week 3: Introduction to Pure Data (PD)

... with special guest Hans-Christoph Steiner.

(10/12) Week 6: Concept Presentations 2

(10/19) Week 7:

After hearing the class presentations from the last two weeks, the instructors respond to the ideas, with case studies of similar directions, different approaches to implementation. How to use Pd for creating, reading, writing, and remixing sound

Guest Presentation: Tristan Perich

(10/19) Week 7: Concept Presentations 2

Weeks 8 - 11: Prototype Development

(10/12) Week 6: Guest Presentation

Guest Presentation: Tristan Perich

After hearing the class presentations from the last two weeks, the instructors respond to the ideas, with case studies of similar directions, different approaches to implementation. How to use Pd for creating, reading, writing, and remixing sound

Weeks 7-11: Concept Presentations 2

(10/19) Week 7: Responding to Concepts / Pd

This class is devoted to 1/2 of the classes’ concept presentations. Students in the class present the idea they will be implementing during the term. Each presentation will be limited to 15 minutes.

Performance Critique: Daedelus - Live in San Antonio - Outtro (local mirror)

• Assignment
  • Weekly progress journal entry

(9/14) Week 2: Musical Instrument presentations.

Also: Overview of physics of sound. Discussion of the Theremin.

• (Continued from previous week.) Create another instrument and compose a one minute piece of music for it. It may help to use this assignment as a sketch or experiment towards designing the instrument you will ultimately be building for the show at the end of the semester. You have the option of working in groups.

(9/28) Week 4: Presentations of your musical instruments.

Also:

Musical Instrument presentations. Overview of physics of sound.

• (Due week4) Create another instrument and compose a one minute piece of music for it. It may help to use this assignment as a sketch or experiment towards designing the instrument you will ultimately be building for the show at the end of the semester. You have the option of working in groups.

• "Inspirational Sounds": Bring a one minute audio clip of music it to share with the class. This can be music that you use for a specific purpose or task, or it can simply be music that you find compelling. Most importantly, be prepared to explain why you find this music inspiring. Try to identify the qualities that appeal to you or that make it well suited to the purpose for which you use it.
• "Start Making Another Instrument:" During class on Week 4, you will be presenting another instrument.

(9/21) Week 3:

Performance Critique: Scribble

Introductions. Info about the class. Discussion about building instruments in one week. Discussion about the elements of musical composition.

• "Inspirational Sounds": Bring a one minute audio clip of music it to share with the class. This can be music that you use for a specific purpose or task, or it can simply be music that you find compelling. Most importantly, be prepared to explain why you find this music inspiring. Try to identify the qualities that appeal to you or that make it well suited to the purposes for which you use it.

• optional: Some Remarks on Musical Instrument Design at STEIM (local mirror), Joel Ryan
• optional: Watch “Bassline Baseline” (local mirror) (history of the Roland musical interfaces), Nate Harrison

Introductions. Discussion about building instruments in one week. Discussion about the elements of musical composition.

\\

Bring your laptops to class and make sure you have PD installed beforehand: \\ Here's where to download Pd, download "Pd-extended": http://puredata.info/downloads

\\

\\

// Here's where to download Pd, download "Pd-extended": // http://puredata.info/downloads

Introduction to Pure Data (PD) with special guest Hans-Christoph Steiner.

Laptops are awesome, but they are very effective instruments of distraction. Everyone benefits if we all pay attention. In general, when you use your laptop during class it should be in order to support or enhance the class experience. During discussions and when your fellow students are talking, please be respectful of everyone's time and sense-of-purpose and close the lid. If you are using your laptop, you may be asked to close the lid.

Laptops in Class

If you are using a laptop, it should be in order to enhance the class. If you're not

• Instructor: Greg Shakar
• http://itp.nyu.edu/nime/show/gmail.png

• Instructor: Greg Shakar http://itp.nyu.edu/nime/show/gmail.png

• Sign up for 2 shop cleaning slots
• Sign up for training session
• Send me your email address if you don't use your nyu email.

• c) This is meant to be a fun assignment that gets us started thinking about composition and performance with novel instruments

Preparing for the show

One of our collective tasks for the semester will be preparing for the concert at the end of the semester. There will be a number of tasks to be taken care of, including choosing a venue, making a poster, creating a program, promotion, etc.

Workshopping

In order to support an iterative instrument-design and composition process, everyone is encouraged to bring works-in-progress to class each week for demonstration and feedback. Also helpful will be questions, thoughts and discoveries for us to discuss as a group.

Performance Critique: Ariel Nevarez - Mimbre, @ ITP NIME SHOW '09 in Brooklyn

• optional: Listen to WFMU: Work Song From Postal Employees in Ghana (local mirror)
• optional: Life Soundtracks: The uses of music in everyday life (local mirror), Daniel J. Levitin, Ph.D

• a) Create a musical instrument using any material or technique you like.
• b) Prepare a one minute performance to played in class

While the central purpose of this class is to produce and perform an instrument, there are a number of assignments and readings that are also required. These are designed to bring clarity, structure, and inspiration to the process. The assignments and readings are always due the week after they are assigned (i.e. the next class).

Frequently, we will watch a performance then critique it. The point is to focus on what is happening in the performance rather than whether we liked it or not. The discussion can cover any topic, with the emphasis being on what can be gleaned about music composition and performance. Rather than statements like, “I liked it” or “it sucked,” focus should be placed on the the factors that contribute to your aesthetic reaction. The composition, timbres, the performance itself, how the parts relate to the whole, whether the gestures fit with the sound, etc. This kind of critical mindset can be very valuable for developing a keen sense of listening, though it can be a bit difficult to learn at first.

Starting on week 9, create your performance plan. The key idea is to map out how your performance will proceed – how it will begin, how it will unfold, and how it will end. This material needs to be handed in on paper. Use the performance planning strategy that makes the most sense for your piece and for your instrument.

(9/7) Week 1: The Role of Music in Everyday Life

(9/14) Week 2: Why Performance Tools?

(9/21) Week 3: Types of Musical Tools

(9/28) Week 4: Musical Interface as Interaction Design Challenge

(10/5) Week 5: Concept Presentations 1

(10/12) Week 6: Concept Presentations 2

(10/19) Week 7: Responding to Concepts / Pd

(10/26) Week 8: Physical Computing for NIME

(11/2) Week 9: Studio Class – Performance Planning

(11/9) Week 10: Prototype Presentations 1

(11/16) Week 11: Prototype Presentations 2

(11/23) Week 12: Workshop

(11/30) Week 13: Work-in-Progress Review

(12/7) Week 14: Dress Rehearsal 6:30-midnight

Tentative date, to be confirmed. This will require you to be available all day.

• Performing in the NIME concert is required for a passing grade.

MANDATORY PERFORMANCE AT PUBLIC VENUE on December 14

Tentative date, to be confirmed. This will require you to be

The performance is scheduled for Tuesday, 12/14, 8-11pm: http://itp.nyu.edu/nime/show

• Fall 2010 - Tuesdays 6:30-9:00pm
• Instructor: Greg Shakar
• Office Hours: Resident Researchers and Greg by Appointment

Performance Critique: Effet Papillon - Mylene Benoit / Cie Contour Progressif (local mirror)

Progress review, job assignments, staging discussion, workshoping.

(12/1) Week 13: Work-in-Progress Review

All NIME projects are required to be on the ITP floor during this period. We will review each project, assess all staging and technical requirements for the performance, and gather information to generate the running order for the final show. NOTE: You can have your project anywhere you want on the floor - it must be functioning and making sound.

All NIME projects are required to be on the ITP floor during this period. We will review each project, assess all staging and technical requirements for the performance, and gather information to generate the running order for the final show. NOTE: You can have your project anywhere you want on the floor - it must be functioning and making sound. We will do a full run-through of concert. Pizza will be served.

(12/8) Week 14: Dress Rehearsal 6:30-midnight

The performance is scheduled for Tuesday, 12/15, 8-11pm: http://itp.nyu.edu/nime/show

Performance Critique: artificiel cubing, performance with Rubik's Cubes (video)

Performance Critique:

• Office Hours: Greg by Appointment, Hans Tuesdays 2-4pm

Guest Presentation: Action Potential - Torino|Margolis with Lee Azzarello and Dana Kolter

Performance Critique: Daedelus - Live in San Antonio - Outtro (local mirror)

Guest Presentation: Torino|Margolis with Lee Azzarello and Dana Kolter

Guest Presentation: Torino|Margolis with Lee Azzarello

Performance Critique/Guest Presentation: Torino|Margolis with Lee Azzarello

Performance Critique: artificiel cubing, performance with Rubik's Cubes (video)

• Unpublished interview with Bill Verplank, Center for the Computer Research and Acoustics (CCRMA) at Stanford BillVerplankPRIMER.pdf

• Unpublished interview with Bill Verplank, Center for the Computer Research and Acoustics (CCRMA) at Stanford (local mirror)

• Watch “Bassline Baseline” (local mirror) (history of the Roland musical interfaces), Nate Harrison

• Listen to WFMU: Work Song From Postal Employees in Ghana (local mirror)

• The importance of parameter mapping in electronic instrument design (local mirror), by Andy Hunt, Marcelo Wanderley, and Matthew Paradis

• The importance of parameter mapping in electronic instrument design (), by Andy Hunt, Marcelo Wanderley, and Matthew Paradis

• Listen to WFMU: Work Song From Postal Employees in Ghana

Starting on week 9, create your performance plan. The key idea is to map out how your performance will proceed – how it will begin, how it will unfold, and how it will end. This material needs to be handed in to us on paper (place them in Greg Shakar's mailbox at ITP) prior to class on week 12. Use the performance planning strategy that makes the most sense for your piece and for your instrument.

• Fall 2009 - Tuesdays 6:30-9:00pm
• Instructor: Greg Shakar and Hans-Christoph Steiner

Starting on week 9, create your performance plan. The key idea is to map out how your performance will proceed – how it will begin, how it will unfold, and how it will end. This material needs to be handed in to us on paper (use Greg Shakar's mailbox at ITP) prior to class on week 12. Use the performance planning strategy that makes the most sense for your piece and for your instrument.

Once production is underway, you are expected to keep a weekly journal of what you worked on for your project. This is very close to the journals from Intro to Physical Computing, except that these journal entries will all relate to the same project: your NIME instrument. Some assignments specifically require journal entries. In these cases, entries are to be posted prior to the beginning of the next class.

Performance Critique/Guest Presentation:

Performance Critique/Guest Presentation:

(10/20) Week 7: Responding to Concepts / Pd

After hearing the class presentations from the last two weeks, the instructors respond to the ideas, with case studies of similar directions, different approaches to implementation. How to use Pd for creating, reading, writing, and remixing sound

(10/27) Week 8: Physical Computing for NIME

Physical computing methods for getting the full potential out of sensors and responsive outputs from electronics.

1st Guest Presentation:

• Assignment
  • Weekly progress journal entry

Performance Critique: Michael Waisvisz - the Hands, @ NIME'03 in Montreal

Performance Critique: Scribble

Performance Critique: Wheel Experience - Younnat

Performance Critique: Effet Papillon - Mylene Benoit / Cie Contour Progressif

Performance Critique:

• Make a journal entry of all the ways in which you or people you observe ‘use’ music during the next week. It can be music to wake up to, to fall asleep to, to blow off steam, to make the subway ride more private or tolerable, for dancing, etc. Include an one minute example of music you made, heard or heard made.

(9/8) Week 1: The Role of Music in Everyday Life

(9/15) Week 2: Why Performance Tools?

(9/22) Week 3: Types of Musical Tools

(9/29) Week 4: Musical Interface as Interaction Design Challenge

(10/6) Week 5: Concept Presentations 1

(10/13) Week 6: Concept Presentations 2

(10/20) Week 7: Responding to Concepts

(10/27) Week 8: Tools for Creativity

(11/3) Week 9: Studio Class – Performance Planning

(11/10) Week 10: Prototype Presentations 1

(11/17) Week 11: Prototype Presentations 2

Weeks 12-14: Build It!

(11/24) Week 12: Workshop

Full class workshop, details TBD.

(12/1) Week 13: Workshop

Full class workshop, details TBD.

Week 14: Full Day Rehearsal (we will choose a date)

All NIME projects are required to be on the ITP floor during this period. We will review each project, assess all staging and technical requirements for the performance, and gather information to generate the running order for the final show. NOTE: You can have your project anywhere you want on the floor - it must be functioning and making sound. We will do a full run-through of concert. Pizza will be served at the end.

(11/19) Week 12: Pd/Pcomp Workshop

Full class workshop on Pcomp and/or Pd.

(12/3) Week 13: Work-in-Progress Review

All NIME projects are required to be on the ITP floor during this period. We will review each project, assess all staging and technical requirements for the performance, and gather information to generate the running order for the final show. NOTE: You can have your project anywhere you want on the floor - it must be functioning and making sound. We have our usual room 447 signed out during this time if you want to bring it there.

1st Guest Presentation:

Guest Presentation:

Guest Presentation:

Full run-through of concert, from 3PM until 9PM. Pizza will be served at the end.

Week 14: Full Day Rehearsal - Saturday, 12/13

(12/3) Week 13: Work-in-Progress Review

All NIME projects are required to be on the ITP floor during this period. We will review each project, assess all staging and technical requirements for the performance, and gather information to generate the running order for the final show. NOTE: You can have your project anywhere you want on the floor - it must be functioning and making sound. We have our usual room 447 signed out during this time if you want to bring it there.

Performance Critique: vienna vegetable orchestra

Guest Presentation: Dan Paluska showing the Absolut Quartet (video)

Guest Presentation: Dan Paluska showing the Absolut Quartet video

• Office Hours by Appointment

Guest Presentation: Bob Huott - The Bean

Performance Critique: Tetrishead, by Zoe Keating with the Quantum Cello

Guest Presentation: TBA

Performance Plan

Starting on week 9, create your performance plan. The key idea is to map out how your performance will proceed – how it will begin, how it will unfold, and how it will end. This material needs to be handed to us or put online by week 12. Use the performance planning strategy that makes the most sense for your piece and for your instrument.

• a graphic representation of the timeline or event possibilities for you to follow during your performance.
• a traditionally notated score, or variation on traditional music notation (including devising your own notation scheme for your instrument).
• a bullet point list describing the sequence of events you want to move through during the performance, articulating particularly the beginning and end.
• or create your own notion of what a score could be, (as long as you speak to its validity as a performance planning tool).

BE ABLE to close your eyes and walk through your whole performance from pre-beginning to post-end. Rehearse it on the subway train, when you’re walking. The key for each rehearsal, real or imagined, is maintaining continuity. Do not stop or let it be interrupted. It can fast or glacially slow, but it must be continuous.

Grading Criteria:

Guest Presentation: TBA

Guest Presentation: TBA

1st Guest Presentation: Paris Treantafeles

Performance Critique: sCrAmBlEd?HaCkZ!

Performance Critique: Daedelus - Live in San Antonio - Outtro

(9/3) Week 1: The Role of Music in Everyday Life

(9/10) Week 2: Why Performance Tools?

(9/17) Week 3: Types of Musical Tools

(9/24) Week 4: Musical Interface as Interaction Design Challenge

(10/1) Week 5: Concept Presentations 1

(10/8) Week 6: Concept Presentations 2

(10/15) Week 7: Responding to Concepts

(10/22) Week 8: Tools for Creativity

(10/29) Week 9: Studio Class – Performance Planning

(11/5) Week 10: Prototype Presentations 1

(11/12) Week 11: Prototype Presentations 2

(11/19) Week 12: Musical Recycling

(12/3) Week 13: Discussion – New Interfaces for Musical Expression

Week 5: Concept Presentations 1 (10/1)

Week 6: Concept Presentations 2 (10/8)

Week 7: Responding to Concepts (10/15)

Week 8: Tools for Creativity (10/22)

Week 9: Studio Class – Performance Planning (10/29)

Week 10: Prototype Presentations 1 (11/5)

Week 11: Prototype Presentations 2 (11/12)

Week 12: Musical Recycling (11/19)

Week 13: Discussion – New Interfaces for Musical Expression (12/3)

Types and approaches to New Interfaces for Musical Expression. An example-based look at the lineage of musical interfaces from acoustic to electronic systems, as well as some examples of interesting NIME projects.

This class is devoted to 1/2 of the classes’ concept presentations. Students in the class present the idea they will be implementing during the term. Each presentation will be limited to 15 minutes.

Performance Critique: Scribble

This class is devoted to 1/2 of the classes’ concept presentations. Students in the class present the idea they will be implementing during the term. Each presentation will be limited to 15 minutes.

Week 1: The Role of Music in Everyday Life (9/3)

Week 2: Why Performance Tools? (9/10)

• Some Remarks on Musical Instrument Design at STEIM (local mirror), Joel Ryan
• Watch “Bassline Baseline” (local mirror) (history of the Roland musical interfaces), Nate Harrison

Week 3: Types of Musical Tools (9/17)

Types and approaches to New Interfaces for Musical Expression. An example-based look at the lineage of musical interfaces from acoustic to electronic systems, as well as some examples of interesting NIME projects. One project, Scribble, will be analyzed in-depth to see the process of creating, learning and performing a new instrument.

Performance Critique: Mouse on Mars - Twift Shoeblade

• Assignment
  • "Inspirational Actions": Think about a performance you have witnessed that made a indelible mark in your life, a performance you would aspire to give, a tool/system you would aspire to perform – and bring a short audio and/or video clip of it to share with the class. This can be something you have already done, but we encourage you to look to the work of other artists/musicians/performers for inspiration.
• Readings

Week 4: Musical Interface as Interaction Design Challenge (9/24)

• Concept Presentations for group 1

Week 5: Concept Presentations 1

This class is devoted to 1/2 of the classes’ concept presentations. Students in the class present the idea they will be implementing during the term.

Performance Critique:

• Make a journal entry of all the ways in which you or people you observe ‘use’ music during the next week. It can be music to wake up to, to fall asleep to, to blow off steam, to make the subway ride more private or tolerable, for dancing, etc. Include an example of music you made, heard or heard made.

Weekly Progress Journal

Once production is underway, you are expected to keep a weekly journal of what you worked on for your project. This is very close to the journals from Intro to Physical Computing, except that these journal entries will all relate to the same project: your NIME instrument.

• Weekly progress journal entry

• Weekly progress journal entry

• Weekly progress journal entry

• Weekly progress journal entry

• Weekly progress journal entry

• Weekly progress journal entry

• Weekly progress journal entry

In order to frame the work of the class, this session provides a look at music in everyday life. We look at the meaning that can be created by music, and the ways in which music is ‘used’ by people in ritual, social and identity definition. With the dominance of recorded music, our experience of music is now mostly as a passive listener, rather than as a engaged participant. This is a dramatic change from the origins of music.

Types and approaches to New Interfaces for Musical Expression. An example-based look at the lineage of musical interfaces from acoustic to electronic systems, as well as some examples of interesting NIME projects. One project, Scribble, will be analyzed in-depth to see the process of creating, learning and performing a new instrument.

Types and approaches to New Interfaces for Musical Expression. An example-based look at the lineage of musical interfaces from acoustic to electronic systems, as well as some examples of interesting NIME projects. One project, Scribble, will be analyzed in-depth to see the process of creating, learning and performing a new instrument.

• Listen to PRI's The World, Garifuna Women's Project

In order to frame the work of the class, this session provides a look at the sociology of music in everyday life. We look at the meaning that can be created by music, and the ways in which music is ‘used’ by people in ritual, social and identity definition. With the dominance of recorded music, our experience of music is now mostly as a passive listener, rather than as a engaged participant.

Performance Critique: Playing the Building: An Installation by David Byrne (video1) (video2)

Performance Critique: Playing the Building: An Installation by David Byrne video1 video2

Performance Critique: reacTable: improvisation demo

Assignments and Readings

While the central purpose of this class is to produce and perform an instrument, there are a number of assignments and readings that are also required. These are designed to bring clarity, structure, and inspiration to the process. The assignments and readings are always due the week after they are assigned (i.e. the next class).

Performance Critique

Every week, we will watch a performance then critique it. The central idea is to focus on what is happening in the performance rather than whether we liked it or not. The discussion can cover any topic, the only thing that is not allowed are judgments, like "I liked it", or "that sucked", or "that's a nice guitar sound". Instead people should talk about the music, sound, and performance itself, how the parts all relates to the whole, whether the gestures fit with the sound, etc. This kind of critical listening can be very valuable for developing a keen sense of listening, though it can be a bit difficult to learn at first.

Performance Critique: Playing the Building: An Installation by David Byrne, in the Battery Maritime Building

Performance Critique: Wheel Experience - Younnat

Performance Critique: Michael Waisvisz - the Hands, @ NIME'03 in Montreal

Performance Critique: Mouse on Mars - Twift Shoeblade

Performance Critique:

Performance Critique:

Performance Critique:

Performance Critique:

Performance Critique:

Performance Critique:

Performance Critique:

Performance Critique:

Performance Critique:

Performance Critique Playing the Building: An Installation by David Byrne, in the Battery Maritime Building

Performance Critique Wheel Experience - Younnat

Performance Critique Michael Waisvisz - the Hands, @ NIME'03 in Montreal

Performance Critique Mouse on Mars - Twift Shoeblade

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Performance Critique

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Performance Critique

Performance Critique

Performance Critique

Performance Critique

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Performance Critique

• none

Performance Critique

Performance Critique

• none

Performance Critique

• none

Assignments and Readings

Weeks 1-6: Concept Development

Week 1: The Role of Music in Everyday Life

In order to frame the work of the class, this session provides a look at the sociology of music in everyday life. We look at the meaning that can be created by music, and the ways in which music is ‘used’ by people in ritual, social and identity definition.

Performance Critique: Playing the Building: An Installation by David Byrne, in the Battery Maritime Building

• Assignment
  • Make a diary of all the ways in which you or people you observe ‘use’ music during the next week. It can be music to wake up to, to fall asleep to, to blow off steam, to make the subway ride more private or tolerable, for dancing, etc. Include example of music you made, heard or heard made.
• Readings
  • Life Soundtracks: The uses of music in everyday life (local mirror), Daniel J. Levitin, Ph.D
  • The importance of parameter mapping in electronic instrument design, by Andy Hunt, Marcelo Wanderley, and Matthew Paradis

Performance Critique: Wheel Experience - Younnat

• Assignment
  • "Inspirational Sounds": Think about the music you would aspire to make – and bring a short audio clip of it to share with the class. This can be something you have already done, but we encourage you to look to the work of other artists/musicians/performers for inspiration
• Readings
  • Unpublished interview with Bill Verplank, Center for the Computer Research and Acoustics (CCRMA) at Stanford (local mirror)

Performance Critique: Michael Waisvisz - the Hands, @ NIME'03 in Montreal

• Assignment
  • "Inspirational Actions": Think about a performance you have witnessed that made a indelible mark in your life, a performance you would aspire to give, a tool/system you would aspire to perform – and bring a short audio and/or video clip of it to share with the class. This can be something you have already done, but we encourage you to look to the work of other artists/musicians/performers for inspiration.
• Readings
  • Some Remarks on Musical Instrument Design at STEIM (local mirror), Joel Ryan
  • Watch “Bassline Baseline” (local mirror) (history of the Roland musical interfaces), Nate Harrison

Performance Critique: Mouse on Mars - Twift Shoeblade

• Assignment
  • Concept Presentations for group 1
• Readings
  • none

Performance Critique:

• Assignment
  • Concept Presentations for group 2
• Readings
  • none

Performance Critique:

• Assignment
  • Weekly progress email
• Readings
  • Not Hyper, Not Meta, Not Cyber but Infra-Instruments (local mirror), John Bowers & Phil Archer

Performance Critique:

• Assignment
  • Weekly progress email
• Readings
  • Pixel Surgeon Interview (local mirror), Toshio Iwai
  • The Convergence of Alternate Controllers and Musical Interfaces in Interactive Entertainment (local mirror), Tina Blaine

Performance Critique:

• Assignment
  • Weekly progress email
• Readings
  • Improvisation and the Orchestra: A Composer Reflects (local mirror), George Lewis
  • Losing Control: Indeterminacy and Improvisation in Music Since 1950 (local mirror), Sabine Feisst

Performance Critique:

• Assignment
  • Weekly progress email
  • Performance Plan / Composition Assignment
  • Prototype Presentations for group 1
• Readings
  • none

Performance Critique:

• Assignment
  • Weekly progress email
  • Prototype Presentations for group 2
• Readings

Performance Critique:

• Assignment
  • Weekly progress email
• Readings
  • Deck Wreckers: The Turntable as Musical Instrument (local mirror), Peter Shapiro
  • Recycling Music, Answering Back:. Toward an Oral Tradition of Electronic Music (local mirror), Gideon D’Arcangelo

Performance Critique:

• Assignment
  • Weekly progress email
• Readings
  • none

Performance Critique:

• Assignment:
  • Practice!
• Readings
  • none

• Mouse on Mars - Twift Shoeblade

Mouse on Mars - Twift Shoeblade

Week 3: Musical Interface as Interaction Design Challenge

• Michael Waisvisz - the Hands, @ NIME'03 in Montreal

Michael Waisvisz - the Hands, @ NIME'03 in Montreal

For millenia, musical instruments were physical devices, whose interfaces and sound generating mechanisms were intertwined; You control a guitar string with your fingers and it directly generates the sound. Now with electronic and computer synthesis, this relationship changes, the interface no longer generates the sound. This opens up the possibilities for design, providing many advantages but also inevitably disadvantages.

• Playing the Building: An Installation by David Byrne, in the Battery Maritime Building

• Wheel Experience - Younnat

Wheel Experience - Younnat

This class is devoted to 1/2 of the classes’ concept presentations. Students in the class present the idea they will be implementing during the term.

Guest Professor: Gideon D'Arcangelo

• Principles for Designing Computer Music Controller (local mirror), Perry Cook

• The importance of parameter mapping in electronic instrument design, by Andy Hunt, Marcelo Wanderley, and Matthew Paradis

Extra Readings

• Capturing Sound - How Technology Has Changed Music - Chapter 1 (local mirror), Mark Katz

• The importance of parameter mapping in electronic instrument design, by Andy Hunt, Marcelo Wanderley, and Matthew Paradis

Playing the Building: An Installation by David Byrne, in the Battery Maritime Building

Playing the Building

Every week, we will watch a performance then critique it. The central idea is to focus on what is happening in the performance rather than whether we liked it or not. The discussion can cover any topic, the only thing that is not allowed are judgments, like "I liked it", or "that sucked", or "that's a nice guitar sound". Instead people should talk about the music, sound, and performance itself, how the parts all relates to the whole, whether the gestures fit with the sound, etc. This kind of critical listening can be very valuable for developing a keen sense of listening, though it can be a bit difficult to learn at first.

For millenea, musical instruments were physical devices, whose interfaces and sound generating mechanisms were intertwined; You control a guitar string with your fingers and it directly generates the sound. Now with electronic and computer synthesis, this relationship changes, the interface no longer generates the sound. This opens up the possibilities for design, providing many advantages but also inevitably disadvantages.

• Watch “Bassline Baseline” (local mirror) (history of the Roland musical interfaces), Nate Harrison

In order to frame the work of the class, this session provides a look at the sociology of music in everyday life. We look at the meaning that can be created by music, and the ways in which music is ‘used’ by people in ritual, social and identity definition.

• Unpublished interview with Bill Verplank, Center for the Computer Research and Acoustics (CCRMA) at Stanford (local mirror)

• Principles for Designing Computer Music Controller (local mirror), Perry Cook
• Some Remarks on Musical Instrument Design at STEIM (local mirror), Joel Ryan
• Watch “Bassline Baseline” (local mirror) (history of the Roland musical interfaces), Nate Harrison

• Not Hyper, Not Meta, Not Cyber but Infra-Instruments (local mirror), John Bowers & Phil Archer

• Pixel Surgeon Interview (local mirror), Toshio Iwai
• The Convergence of Alternate Controllers and Musical Interfaces in Interactive Entertainment (local mirror), Tina Blaine

• Improvisation and the Orchestra: A Composer Reflects (local mirror), George Lewis
• Losing Control: Indeterminacy and Improvisation in Music Since 1950 (local mirror), Sabine Feisst

• Recycling Music, Answering Back:. Toward an Oral Tradition of Electronic Music (local mirror), Gideon D’Arcangelo

• Life Soundtracks: The uses of music in everyday life (local mirror), Daniel J. Levitin, Ph.D
• Reprise (local mirror), Tia DeNora
• Capturing Sound - How Technology Has Changed Music - Chapter 1 (local mirror), Mark Katz

• Unpublished interview with Bill Verplank, Center for the Computer Research and Acoustics (CCRMA) at Stanford (local mirror)
• Music from the other side of the loudspeaker? (local mirror)

• Principles for Designing Computer Music Controller (local mirror), Perry Cook
• Some Remarks on Musical Instrument Design at STEIM (local mirror), Joel Ryan
• Watch “Bassline Baseline” (history of the Roland musical interfaces), Nate Harrison

• Not Hyper, Not Meta, Not Cyber but Infra-Instruments (local mirror), John Bowers & Phil Archer

• Pixel Surgeon Interview (local mirror), Toshio Iwai
• The Convergence of Alternate Controllers and Musical Interfaces in Interactive Entertainment (local mirror), Tina Blaine

• Improvisation and the Orchestra: A Composer Reflects (local mirror), George Lewis
• Losing Control: Indeterminacy and Improvisation in Music Since 1950 (local mirror), Sabine Feisst

• Deck Wreckers: The Turntable as Musical Instrument (local mirror), Peter Shapiro
• Recycling Music, Answering Back:. Toward an Oral Tradition of Electronic Music (local mirror), Gideon D’Arcangelo

• Life Soundtracks: The uses of music in everyday life, Daniel J. Levitin, Ph.D

• Capturing Sound - How Technology Has Changed Music - Chapter 1, Mark Katz

• Principles for Designing Computer Music Controller, Perry Cook
• Some Remarks on Musical Instrument Design at STEIM, Joel Ryan
• Watch “Bassline Baseline” (history of the Roland musical interfaces), Nate Harrison

• Not Hyper, Not Meta, Not Cyber but Infra-Instruments, John Bowers & Phil Archer

• Weekly progress email

• The Convergence of Alternate Controllers and Musical Interfaces in Interactive Entertainment, Tina Blaine

• Improvisation and the Orchestra: A Composer Reflects, George Lewis
• Losing Control: Indeterminacy and Improvisation in Music Since 1950, Sabine Feisst

• Deck Wreckers: The Turntable as Musical Instrument, Peter Shapiro
• Recycling Music, Answering Back:. Toward an Oral Tradition of Electronic Music, Gideon D’Arcangelo

In this class, we discuss the aesthetic issues around sampling, scratching and other forms of musical appropriation as primary creative expression.

• none

Week 12: Musical Recycling

In this class, we discuss the aesthetic issues around sampling, scratching and other forms of mu- In this class, we discuss the aesthetic issues around sampling, scratching and other forms of mu- sical appropriation as primary creative expression.

4th Guest Presentation: TBA

Week 13: Discussion – New Interfaces for Musical Expression

In this summative session, we reflect on the theoretical discussions from the beginning of the semester in terms of the hands-on experience we have had in developing our own musical instrument prototypes.

Tentative date, to be confirmed. It will be around the same time as the ITP show, so before making holiday travel plans, be sure that you know the date of the performance.

• Weekly progress email

• Weekly progress email

• Weekly progress email

Week 9: Studio Class – Performance Planning

There are many methodologies, documentation frameworks and notations musicians and performers use to prepare their pieces. These ideas speak to the intention, context and at times political motivation of the performer. Using examples from artists who thought a great deal about the meaning of their performance frameworks, we will devise our own approaches for our NIME instruments.

• Weekly progress email
• Performance Plan / Composition Assignment
• Prototype Presentations for group 1

• none

Week 10: Prototype Presentations 1

In this class, students will give presentations of their musical interface prototypes, in a forum for class/instructor evaluation and feedback. Half of the class will present this week.

• Weekly progress email
• Prototype Presentations for group 2

Week 11: Prototype Presentations 2

In this class, students will give presentations of their musical interface prototypes, in a forum for class/instructor evaluation and feedback. The other half of the class will present this week.

• Weekly progress email

• Deck Wreckers: The Turntable as Musical Instrument, Shapiro
• Recycling Music Answering Back, D’Arcangelo

• Weekly progress email

• none

• Practice!

• none

Week 14: Full Day Rehearsal - Date to be confirmed

Full run-through of concert, from 12PM until 6PM. Pizza will be served.

MANDATORY PERFORMANCE AT PUBLIC VENUE

(Tentative date, to be confirmed)

Weeks 1-6: Concept Development

Performance Critique

Make a diary of all the ways in which you or people you observe ‘use’ music during the next week. It can be music to wake up to, to fall asleep to, to blow off steam, to make the subway ride more private or tolerable, for dancing, etc. Include example of music you made, heard or heard made.

• Life Soundtracks: The uses of music in everyday life, Daniel J. Levitin, Ph.D
• Tia DeNora - Reprise
• Mark Katz, Capturing Sound - How Technology Has Changed Music - Chapter 1

Week 2: Why Performance Tools?

Having looked at the role of music in our lives, we look towards types performing tools, enablers and interfaces. Historically, musical performance tools (i.e.: “instruments”) were subject to acoustic constraints first, performance/user considerations only surfacing as an afterthought. Today’s performance tools can approach instrument design in new ways, as the interface and the means of sound production no longer need be coincident.

Performance Critique

Assignment

Inspirational Sounds: Think about the music you would aspire to make – and bring a short audio clip of it to share with the class. This can be something you have already done, but we encourage you to look to the work of other artists/musicians/performers for inspiration

Readings

• Unpublished interview with Bill Verplank, Center for the Computer Research and Acoustics (CCRMA) at Stanford
• Music from the other side of the loudspeaker?

Week 3: Why New Interfaces? Musical Interface as Interaction Design Challenge

Guest Professor: TBA

We look at the larger ‘problem’ of human computer interaction design, set in the context of the history of human factors engineering. We consider Bill Verplank’s progression of design systems that better factor in human participation from making them safe to effective to efficient to satisfying. We then look at the special challenges of musical interface design, and the difference between “button” and “handle” controls.

Performance Critique

Assignment

Inspirational Actions: Think about a performance you have witnessed that made a indelible mark in your life, a performance you would aspire to give, a tool/system you would aspire to perform – and bring a short audio and/or video clip of it to share with the class. This can be something you have already done, but we encourage you to look to the work of other artists/musicians/performers for inspiration.

Readings

• Principles for Designing Computer Music Controller, Perry Cook
• Some Remarks on Musical Instrument Design at Steim, Joel Ryan
• Watch “Bassline Baseline” by Nate Harrison (history of the Roland musical interfaces)

Week 4: Types of Musical Tools

Guest Professor: Greg Shakar

Types and approaches to New Interfaces for Musical Expression. An example-based look at the lineage of musical interfaces from acoustic to electronic systems, as well as a wrap up of interesting NIME projects, applications within the “field” of NIME, their conceptual framework and systems outline.

Performance Critique

This class is devoted to 1/2 of the classes’ concept presentations. Students in the class present the idea they will be implementing during the term.

Assignment

• Concept Presentations for group 1

Readings

• none

Week 5: Concept Presentations 1

This class is devoted to 1/2 of the classes’ concept presentations. Students in the class present the idea they will be implementing during the term.

Performance Critique

Assignment

• Concept Presentations for group 2

Readings

• none

Week 6: Concept Presentations 2

Performance Critique

Assignment

Readings

• Not Hyper, Not Meta, Not Cyber but Infra-Instruments, John Bowers & Phil Archer

Weeks 7-11: Prototype Development

Week 7: Responding to Concepts

After hearing the class presentations from the last two weeks, the instructors respond to the ideas, with case studies of similar directions, different approaches to implementation.

Performance Critique

Assignment

Readings

• Pixel Surgeon Interview, Toshio Iwai
• The Convergence of Alternate Controllers and Musical Interfaces in Interactive Entertainment, Tina Blaine

Week 8: Tools for Creativity

An important impetus for the building of creative musical tools is to distance ourselves and our audience from the trappings of traditional hierarchies of musical performance. The act of creating an expressive outlet or tool is one of political and economic impact.

1st Guest Presentation: TBA

Performance Critique

Assignment

• Weekly progress email to instructor

Readings

• Improvisation and the Orchestra, George Lewis
• Losing Control, Feisst

Week 9

2nd Guest Presentation: TBA

Performance Critique

Assignment

Readings

Week 10

3rd Guest Presentation: TBA

Performance Critique

Assignment

Readings

Week 11

4th Guest Presentation: TBA

Performance Critique

Assignment

Readings

Weeks 12-14: Performance Development

Week 12

Performance Critique

Assignment

Readings

Week 13

Performance Critique

Assignment

Readings

Week 14

Performance Critique

Assignment

Readings

• Fall 2008 - Wednesdays 6:30-9:00pm
• Instructor: Hans-Christoph Steiner
• Office Hours by Appointment: Time To Be Determined

New Interfaces for Musical Expression

Instructor: Hans-Christoph Steiner Fall 2008 - Wednesdays 6:30-9:00pm Office Hours by Appointment: Time To Be Determined

Grading Criteria:

• Punctual and regular attendance at class meetings
• Level of participation in class discussion
• Quality and timeliness of assignments
• Ability to collaborate responsibly with other classmates
• Creativity and inventiveness of final musical instrument prototype

Weeks 7-11: Prototype Development

Weeks 12-14: Performance Development

Syllabus

Class Schedule

Weeks 1-6: Concept Development

Week 1: The Role of Music in Everyday Life

In order to frame the work of the class, this session provides a look at the sociology of music in everyday life. We look at the meaning that can be created by music, and the ways in which mu- sic is ‘used’ by people in ritual, social and identity definition.

Assignment

Make a diary of all the ways in which you or people you observe ‘use’ music during the next week. It can be music to wake up to, to fall asleep to, to blow off steam, to make the subway ride more private or tolerable, for dancing, etc. Include example of music you made, heard or heard made.

Readings

Week 2

Week 3