| PERFORMING ARTS TECHNOLOGY |
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Fall semester 2009
Digital Music Ensemble (PAT 412/512), 1-2 cr. hrs. Prof. Rush
Graduate students elect PAT 512.
The Digital Music Ensemble (DME) is a technology-based interdisciplinary performance troupe
that collaborates in the creation and performance of new works of art or performs historically
innovative works. DME uses methods of open-ended critical inquiry to challenge meaning in the
creation, realization, and performance of art. The fall semester is usually focused on readings
concerning the Labyrinth tradition in many cultures, culminating in the recurring work "Gypsy
Pond Music," a sonic, site-specific installation involving sculpture and algorithmic computer
music.
Studio Production I (PAT 431/531), 3 cr. hrs. Prof. Corey
Graduate students elect PAT 531.
The advanced study of theory and practice of recording techniques, mixing, and production for
multi-channel audio systems through guided projects.
Advanced Computer Composition (PAT 451/551), 3 cr. hrs. Prof. Moorefield
Graduate Students elect PAT 551.
Prerequisite: Permission of instructor.
Students study various algorithms for computer-enhanced performance and composition with an
emphasis on real-time and interactive systems. The course includes the study of several historical
and current algorithmic compositions.
Performance Systems (PAT 461/561), 3 cr. hrs. Prof. Simoni
Graduate students elect PAT 561.
Prerequisite: MATH 105 and permission of instructor.
An introduction to digital sound synthesis, signal processing theory, and psychoacoustics with an
emphasis on sound design and composition. Students demonstrate theoretical mastery and aural
recognition of additive synthesis, amplitude modulation, frequency modulation, waveshaping
synthesis, and subtractive synthesis.
Media Arts (PAT 510), 3 cr. hrs. Prof. Kirshner
The course details the theory and practice of music technology, interactive art forms that use
technology, models of human computer interaction, and digital video and animation. Students
will perform analyses of contemporary works in the media arts from aesthetic, production,
technological, and artistic points of view. Students will examine the roles in the collaborative
process.
Engineering Applications Media Technology (PAT 511), 3 cr. hrs. Prof. Simoni
Algorithm design and analysis with applications in the sonic and visual arts; fundamental
knowledge representation, formal reasoning, and search algorithms. Emphasis will be placed on
fundamental computational problems in the media arts, with discussion of the introductory issues
in encoding and processing style.
Winter semester 2009
Engineering Applications of Media Tech (PAT 511), 3 cr. hrs. Prof. Simoni
Prerequisite: Media Arts graduate student or permission of instructor.
Algorithm design and analysis with applications in the sonic and visual arts; fundamental knowledge representation, formal reasoning, and search algorithms. An emphasis on fundamental computational problems in the media arts and a discussion of the introductory issues in encoding and processing style.
Interdisciplinary Collaboration II (PAT 513), 3 cr. hrs. Prof. Rush
Prerequisite: Media Arts graduate student or permission of instructor.
A continuation of Interdisciplinary Collaboration I with an emphasis on large-scale multimedia interactive installations.
Interactive Media (PAT 442/542), 2 cr. hrs. Prof. Kirshner
Graduate students elect PAT 542.
Prerequisite: PAT 451or permission of instructor.
This course explores the complex interaction between sound, music, image, motion, and text in the context of interactive electronic media. Students design and create interactive media works with an emphasis on the role of sound and music. Technical issues such as bandwidth, media compression, scripting languages, and cross-platform compatibility are addressed. Class sessions include analytical discussion, studio work, critiques, and screenings of selected works.
Intermedia Composition & Performance (PAT 452/552), 3 cr. hrs. Prof. Moorefield
Graduate students elect PAT 552.
Prerequisite: Permission of instructor.
This course builds on the skills and techniques developed in Advanced Computer Composition, and focuses developing advanced skill in graphical programming environments. Students create works that explore the interaction of aural and visual elements in a real-time context. Seminal works of visual music by Fischinger, Whitney, Brakhage, Eno, and others are viewed and discussed.
Digital Sound Synthesis II (PAT 462/562), 3 cr. hrs. Prof. Furr
Graduate students elect PAT 562.
Prerequisite: 561.
An introduction to digital sound synthesis and signal processing theory with an emphasis on sound design and compositional applications. Topics include additive synthesis, amplitude modulation, ring modulation, frequency modulation, subtractive synthesis, granular synthesis, physical modeling synthesis, heterodyne filter analysis/resynthesis, linear predictive coding, and phase vocoding.
Business in Music (PAT 472/572), 3 cr. hrs. Prof. Simoni
Graduate students elect PAT 572.
This course discusses the essential aspects of the music business including performing rights agencies, copyright, licensing, music publishing, contracts, royalties, and distribution. Selected readings will include case studies from a variety of musical genres.
Fall semester 2008
Introduction to Computer Music (PAT 201/401/501), 3 cr. hrs. Staff
Graduate students elect PAT 501.
Prerequisite: Permission of instructor.
This course is an introduction to electronic musical instruments, MIDI, and digital audio systems. Students create several original compositions for presentation and discussion. The aesthetics of electroacoustic composition are discussed through study of selected repertoire.
Digital Music Ensemble (PAT 403), 1–2 cr. hrs. Prof. Rush
Prerequisite: Permission of instructor.
The Digital Music Ensemble (DME) is a technology-based interdisciplinary performance troupe that collaborates in the creation and performance of new works of art or performs historically innovative works. DME uses methods of open-ended critical inquiry to challenge meaning in the creation, realization, and performance of art. The fall semester is usually focused on readings concerning the Labyrinth tradition in many cultures, culminating in the recurring work "Gypsy Pond Music," a sonic, site-specific installation involving sculpture and algorithmic computer music.
Music and Media I (PAT 441/541), 3 cr. hrs. Prof. Kirshner
Graduate students elect PAT 541.
Prerequisites: PAT 221, PAT 331, and PAT 461; or permission of instructor.
This course is a project-oriented exploration of the relationship between moving images and sound produced with the aid of technology, with a particular emphasis on digital video. Students add sound to pre-existing time-based images and capture, construct, and process original images. The course includes critiques of videos made by artists and scenes from films.
Computer Music Programming I (PAT 451/551), 3 cr. hrs. Prof. Moorefield
Graduate Students elect PAT 551.
Prerequisite: Permission of instructor.
Students study various algorithms for computer-enhanced performance and composition with an emphasis on real-time and interactive systems. The course includes the study of several historical and current algorithmic compositions.
Digital Sound Synthesis I (PAT 461/561), 3 cr. hrs. (Sec. 001) Prof. Simoni
(Sec. 002) Prof. Furr
Graduate students elect PAT 561.
Prerequisite: MATH 105 and permission of instructor.
An introduction to digital sound synthesis, signal processing theory, and psychoacoustics with an emphasis on sound design and composition. Students demonstrate theoretical mastery and aural recognition of additive synthesis, amplitude modulation, frequency modulation, waveshaping synthesis, and subtractive synthesis.
Media Arts (PAT 510), 3 cr. hrs. Prof. Kirshner
The course details the theory and practice of music technology, interactive art forms that use technology, models of human computer interaction, and digital video and animation. Students will perform analyses of contemporary works in the media arts from aesthetic, production, technological, and artistic points of view. Students will examine the roles in the collaborative process.
Interdisciplinary Collaboration I (PAT 512), 3 cr. hrs. Prof. Rush
Students form teams to realize computer-based multimedia works that integrate technology, music, sound, art, and moving image. Students analyze the work as individuals and as members of a group. The analysis details aspects of the design, role development, collaboration, aesthetic goal, artistic statement, production values, and the role of technology in the creative process.
Computer Music Composition and Arranging (PAT 521), 2 cr. hrs. Prof. Santos
Techniques in music composition using advanced MIDI systems and computer music notation programs. The course emphasizes orchestration techniques with multi-channel MIDI capabilities. Students produce at least one original composition.
Winter semester 2008
Micro-Computers & Music (PAT 201/401/501), 3 cr. hrs. Prof. Furr
Graduate students elect PAT 501
Prerequisite: Permission of instructor.
Instruction in the use of microcomputers and synthesizers with MIDI; study of MIDI digital audio, music sequencing, and notation software. Students are expected to create several arrangements or compositions.
Computer Music Composition and Arranging (PAT 221/521), 3 cr. hrs.
Graduate students elect PAT 521. Sec. 1 Prof. Santos/Sec. 2 Prof. Furr
Techniques in music composition using advanced MIDI systems and digital audio systems. Emphasizes orchestration
and compositional techniques using multichannel software. Students produce original compositions.
Digital Music Ensemble (PAT 403), 1-2 cr. hrs. Prof. Rush
Provides opportunities to perform original and standard repertory compositions by composing or arranging works for
MIDI instruments, including keyboard synthesizers, samplers, MIDI wind controllers, and MIDI percussion.
Directed Individual Study (PAT 507), 1-3 cr. hrs. Faculty
Prerequisite: Permission of instructor or departmental approval.
Students receive individual instruction, consultation, and guidance from the instructor. Course emphasis is on developing
individual research skills, culminating in a final project or paper.
Music and Media II (PAT 442/542), 2 cr. hrs. Prof. Kirshner
Graduate students elect PAT 542.
Prerequisite: PAT 451or permission of instructor.
This course is intended, chiefly, for students in Film and Video Studies, Art and Design, and Music, but will be open to anyone with relevant experience in some aspect of traditional or new media production (e.g., sound, music, video, graphics, animation, writing, programming), Using a collaborative approach and working in small groups, students will engage in a number of sound and image experiments designed to encourage the creation of hybrid media works. Ideally, students will conceive of sound, text, music,
and images synthetically, and will develop them into a cohesive form in which no element is treated as secondary.
Meeting once a week, students will gather for discussions, screenings, listening sessions, demonstrations, presentations,
and critiques of their colleagues’ works. Readings on the subject of New Media and its cultural/social/political/historical context will
be assigned.
The final creative projects will likely be quite diverse in structure, theme, and mode of presentation. Final projects will be presented in a mini-festival, open to the public.
Computer Music Programming II (PAT 452/552), 3 cr. hrs. Prof. Moorefield
Graduate students elect PAT 552.
Prerequisite: Permission of instructor.
A continuation of Digital Sound Synthesis I with emphasis and analysis/resynthesis methods in music composition and digital
signal processing.
Digital Sound Synthesis II (PAT 462/562), 3 cr. hrs. Prof. Simoni
Graduate students elect PAT 562.
Prerequisite: 561.
A continuation of PAT 561. Techniques covered include speck synthesis, formant synthesis, cross synthesis, linear prediction coding, phase vocoding, wavelets, granular synthesis, physical modeling, convolution, reverberation, and auditory localization.
Musical Acoustics (PAT 472/572), 3 cr. hrs. Prof. Corey
Graduate students elect PAT 572.
Prerequisite: PAT 331 and Music Theory 240.
An introduction to the principles of acoustics and psychoacoustics that is relevant to the recording engineer and music technologist. Topics include perception and measurement of sound, room acoustics, and the acoustics of musical instruments and the human voice.
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