Professor Matthew Burtner
email: mburtner@virginia.edu
University of Virginia, Department of Music/ VCCM

Wednesday, 5:00-7:30 Rm. B11 Old Cabell Hall (the VCCM)
Lab (required), The VCCM (Rm. BO11 OCH)
Office hours: Tuesday 1-4pm, Old Cabell Hall 205, and by appointment

Students from MUSI 435 2003 Performing as MICE at the Fringe Festival

OVERVIEW

GRADING

MATERIALS

SYLLABUS

OVERVIEW

Interactive Ecologies and Multi-performer Systems

Music 435/735 explores interactive technology for music and multimedia. The class supports the ensemble MICE (Music for Interactive Computers Ensemble). 435/735 students learn theoretical and practical aspects of programming, composing and performing real-time interactive music with computers. In this course we engage with the computer as a musical collaborator. Emphasis will be placed on gaining a deeper and more personal understanding of the possibilities of real time music technology. Students are encouraged to involve their own areas of expertise (instrument, major field, previous musical or computer experience). This class fulfills a music major composition course requirement and creativity is stressed. Prerequisite: MUSI339 or instructor permission.

This year interactive media will focus on “Interactive Ecologies and Multi-performer Systems”. Work will involve multi-channel interactive composition for installation art and immersive sound art, and ensemble performance using a multi-agent and multi-modal approach to programming.

The class is in three large sections:

1) Building a basis in interactive sound art
2) Multi-Performer Music Programming / Performance
3) Interactive Ecologies

Students should register for both the course and the lab section.

ASSIGNMENTS AND GRADING

GRADING

Six Short Assignments: 5% each: (30% total).
graded on timely completion (2/5), programming technique (3/5)

Three Projects 15% each: (45% total).
graded on timely completion (5/15), creative application of class tools (5/15), programming technique (2/15), and musical and artistic effectiveness (3/15)

Final Class Project / Digitalis 15%
Expand one of your projects or create a new project and present it either in the class or at Digitalis. You can do a Multichannel piece, installation, or work with MICE in a multi-performer collaborative context. Other projects may be possible – talk to us about them.

Presentation of work 10%
give a presentation on either 1) one of your composition projects, or a technology problem that was solved as part of the project, or 2) a research presentation on another piece, composer or idea related to the class

Attendance
Attendance of classes and labs is required.It is very important to attend the class as it only meets once a week (there are 14 classes). Each unexcused class absence will result in a 4% grade reduction.

MATERIALS

textbook available in the UVA Bookstore

Multimedia: From Wagner to Virtual Reality by Randall Packer and Ken Jordan (eds)

Other readings will be available on Toolkit.

Equipment and Resources:

computers, controllers, manuals, etc are located in the VCCM

Portable Edirol hard disk recorders are available for check-out in the Music Library, in the basement of Old Cabell Hall, available during regular library hours.

Other useful materials
download the Max/MSP Getting Started document: Max42GettingStarted.pdf
download the Max/MSP Reference document: Max42Reference.pdf
download the Max/MSP Tutorials and Topics document: Max42TutorialsAndTopics.pdf
download the Max/MSP 4.2 Manual: MSP42.pdf
download the Peak Manual: Peak.pdf
Digital Performer Manual available by every computer in hard copy

SYLLABUS

MUSI 435/735 Interactive Media /Interactive Ecologies Syllabus, 2006

1) January 18
class: Introduction to MUSI 435/735 Interactive Media: class overview, setting up user accounts, using the door alarm, Introduction to Max/MSP environment and resources

reading: Thom Holmes “New Technology, New Music, New Listening” from Experimental and Electronic Music. Thom Holmes “What is Electronic Music”

LAB: Introduction to Max/MSP

2) January 25
class: History of interactive music software, introduction to Max/MSP. Max introduction: Introduction to the environment. Getting MIDI and audio control data in and out.

discussion: Richard Wagner: "Outlines of the Artwork of the Future"Where are we in “the future”

reading: Richard Wagner: "Outlines of the Artwork of the Future" from Multimedia
Introduction to Max/MSP, Christopher Dobrian, MSP Manual (pdf)

listening: early instruments: Clara Rockmore performing Saint –Saens’ The Swan, and Tchaikovsky’s Valse Sentimentale; Olivier Messiaen Oraison. Milton Babbitt, Philomel; Pierre Boulez Repons (1981-1984); Chrisopher Dobrian Entropy (1991),

LAB: Work towards Assignment 1: Using Controller data 1
Create an algorithmic instrument that takes MIDI data in, processes it and sends it back out. Use the X5 or some other MIDI controller controller.

3) February 1
class: Managing data streams, recording and recalling data. Techniques of reverse engineering MIDI controllers, Introduction to our available instruments

discussion: assignment 1 due, discussion of Winkler and Engelbart readings

reading: Composing interactive music : techniques and ideas using Max / Winkler, Todd,
Douglas Engelbart: "Augmenting Human Intellect: A Conceptual Framework"

listening: Jean-Claude Risset Huit esquisses en duo pour un pianiste : Double, Miroirs, Extensions, Fractals, Agrandissements, Métronomes, Up-down, Résonances (1989), George Antheil Ballet Mecanique (first version) for 16 synchronized pianolas run electrically, percussion (1923/25). Steve Reich, Electric Counterpoint; Tom Johnson, Failing; Edmund Campion, Natural Selection V (2001)

LAB: Work towards Assignment 2: Using Controller data 2
Create a synthesizer that takes controller data and plays back synthesized sound

4) February 8
class: Interactive Acoustics overview, working with digital audio systems. Music of Kyoko Kobayashi: Animals and Music Box

discussion: assignment 2 due, discussion of Human-Computer symbiosis

reading: J.C.R. Licklider: "Man-Computer Symbiosis", Max/MSP Tutorials

listening: Gordon Mumma, Mesa and Hornpipe, Gyorgi Ligeti, Hungarian Rock and Capriccio; Javier Alvarez, Temazcal
LAB: work towards Assignment 3: Using Audio data
Create a signal processor that takes audio input, processes it and sends audio output

5) February 15
class: Interactive Acoustics II, Integrating audio and control data into real time performative systems; Music of Matthew Burtner : Signal Ruins and Broken Drum

discussion: assignment 3 due

reading: Scott Fisher: "Virtual Interface Environments", Max/MSP Tutorials

listening: Einojuhani Rautavaara, Cantus Arcticus Op 61; Pierre Schaefer, Etude aux Chemins de Fer; Alexandra Gardner, Marblehead; Iannis Xenakis Concret PH, Hildegard Westerkamp Talking Rain; Joan La Barbara, Erin

LAB: work towards Project 1: Interactive Acoustics: Choose a sounding body from the physical acoustic world (possibly an instrument or just some material) and develop an approach to extending it into virtual reality. To do this you need to get the sound of the instrument into the computer. Create a short composition demonstrating your technology and technique.

6) February 22
class: performative systems and interface design considerations

discussion: Project 1, Interactive Acoustics: Choose a sounding body from the physical acoustic world (possibly an instrument or just some material) and develop an approach to extending it into virtual reality. To do this you need to get the sound of the instrument into the computer. Create a short composition demonstrating your technology and technique.

reading: Matthew Burtner, The Metasaxophone; Dan Trueman, Reinventing the Violin. Max/MSP Tutorials, Perry Cook NIME Controllers

listening: Chris Chafe and Fernando Lopez Lezkano, Vanishing Point; Dan Trueman, Still; The Hub, Wrecking Ball; Erik M, Live at Darmstadt ; Meredith Monk, Walking song and Click song; Matthew Burtner Noisegate 67.
LAB: work towards Assignment 4: Multi-performer systems 1
Working in teams, design a synthesizer that takes in two performer’s data and generates a single sound.

7) March 1
class: project 1 presentations, issues of mapping, introduction to FTM.

discussion: Assignment 4: Multi-performer systems 1
Working in teams, design a synthesizer that takes in two performer’s data and generates a single sound.
discussion of Levy and Kluver

reading: Pierre Levy: "The Art and Architecture of Cyberspace", Billy Kluver: "The Great Northeastern Power Failure"

listening: Christian Marclay, Black Stucco and Dust Breeding; Sensorband, live in Amsterdam (from CMJ CD), Chris Chafe, Ping and Oxygen Flute; Interface with Pauline Oliveros DVD

LAB: work towards Assignment 5: Multi-performer systems 2
Working in teams, design a synthesizer that takes in some live audio and collaboratively processes it. (due after spring break)

March 8 SPRING BREAK

8) March 15
class: The idea of a MICE (Music for Interactive Computers Ensemble), Network and Multi-performer systems

discussion: Assignment 5

listening: Tomie Hahn and Curtis Bahn, Pica Pica; Butch Rovan, Vis a Vis;

reading: F.T. Marinetti: "The Futurist Cinema"

LAB: Project 2 MICE (Music for Interactive Acoustics Ensemble): Design a Network music instrument for MICE. This is a collaborative class project in several steps.
1) Following discussions with the other performers, design an interactive computer module for MICE and teach the other members of the group how it works.
2) In a group, connect the modules in an intelligent way such that they can be performed together
3) Rehearse with MICE and decide what instruments each performer will use.
due March 22

9) March 22
class: Multi-performer systems, designing of MICE 2006

listening: Troika Ranch, Future of Memory; MICE 2003 performance of Money MICE

LAB: MICE

10) March 29
class: MICE development

discussion: Assignment 5

class: Physical instrument design: incorporating sensors in interactive media
listening: Perry Cook, Dijeridoo; Matthew Burtner, Windcombs; Laetitia Sonomi, Lady’s Glove; Arthur Ganson, Machines

LAB: MICE


11) April 5
class: Interactive Ecologies: Multichannel interactive techniques in Max. Installation art

reading: ArtForum Symposium on Ecological-Art, Lynn Hershman: "The Fantasy Beyond Control"

listening: Lynn Hershman, selected works Philip Glass, Koyaanisqatsi; Jonathan Berger Echoes of Light and Time: Early Summer Morning; Karlheinz Stockhausen, Helikopter Quartet: Ignition of the Turbines, Entry; Judith Shatin, Tree Music; Ted Coffey, Music for Lawn Games.

LAB: work towards Short Assignment 6: Multi-channel Interactive Programming 1
Create an instrument that sends out 8 independent channels. Consider each speaker as a unique voice occupying its own space. Create an instrument that moves sound around the 8-channel array. Consider the speakers as an immersive environment and think about paths around the space.

12) April 12
class: Immersion: possibilities with visual systems and Multichannel sound

reading:

discussion: assignment 6

listening: Kanto Hario, System; selected environmental art; selected installation TBA; Barry Truax Pendlerdrom; Damian Keller, Toco y me voy ; Chris Burns, Multichannel works

LAB: work towards Project 3 Interactive Ecologies: Explore immersion and multimedia composition using the tools we have covered or other tools available to you. You may collaborate with other artists outside this class (for example dancers, sculptors, video artists, etc). You should concentrate on creating an installation-based piece that involves some form of interaction. This could be a Multichannel interactive piece, a work involving visual and sound media or both.

13) April 19
class: Interactive Ecologies

listening: Laurie Anderson DVD Puppet Motel; David Tudor, Rainforest

LAB: finishing anything that needs to be done. Preparing for Digitalis 2006

14) April 26 (last class)
class: Final discussion and preparation for Digitalis 2006Tuesday,

May 2, Digitalis Festival including MICE Final Performance

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Copyright 2001-2006, Matthew Burtner