Mardi de
17.15h à 21h et les vendredi de 17.15 à 21h.
-1e
rencontre nouveaux élèves (et les anciens sont aussi invités) :
Vendredi 12
septembre à 17.15h à 19.15h salle 43
-Début des
cours :
Mardi 16
septembre à 17.15h – 21h.
Histoire
de la musique électronique et expérimentale
Partitions,
CD, DVD, Cdrom et vidéos|
1-Premiers
instruments électroniques
2-Telharmonium,
Russolo & futuristes
3-Edgard
Varèse et Léon Theremin
4-Sphärophon,
Ondes Martenot, Partch, Cowell...
Vendredi 19
septembre à 17.15h – 21h.
5-Trautonium,
Nancarrow, Hammond, Vocoder...
6-John
Cage, enregistrement magnétique
7-Musique
concrète : Pierre Schaeffer, Pierre Henry
8-Studio
WDR & Karlheinz Stockhausen
Mardi 23
septembre à 17.15h – 21h.
9-Studio
di Fonologia, CPEMC...
10-Hors
des studios : autres Pionniers
11-Live
Electronic Music & performances Multimedia
12-Electronique
& Minimalisme
Vendredi 26
septembre à 17.15h – 21h.
13-Spatialisation
& image
14-
Pionniers de la Computer Music
15-Synthétiseurs
analogiques : Moog, Buchla...
16-Explosion
commerciale : numérique & MIDI
Mardi 30
septembre à 17.15h – 21h.
17-
Nouvelles Technologies et utopies disciplinaires
http://www.music.mcgill.ca/musictech/
McGill
Music Technology Area
Music Technology encourages interaction between musical creation, technology and research. The pedagogical goal of the Music Technology program is to provide students with an environment for professional-level music training with an intensive focus on programming of advanced music technologies. Training includes courses in Computer Music, New Media, Digital Signal Processing, Computer Science, Human-Computer Interaction, Psychoacoustics, and Acoustics. Research goals of the program include the study and development of new and flexible strategies for sound analysis, processing, synthesis and control, melodic pattern recognition, auditory display, symbolic manipulation of formal music representations, and music perception and cognition. This training prepares students to meet the technological demands of contemporary composition and performance practice, and offers students a wide range of employment possibilities in the music technology and media industries.
Music Technology Area Chair:
Ichiro Fujinaga
Faculty:
Philippe Depalle, B.Sc., MA., D.E.A., Ph.D.
Ichiro Fujinaga, B.Sc., B.Mus., M.A., Ph.D.
Stephen McAdams, B.Sc., M.Sc., Ph.D.
Gary P. Scavone, B.A., B.S., M.S., Ph.D.
Marcelo M. Wanderley, E.Eng., M.Eng., Ph.D.
For more information please visit the Music Technology web site.
MUMT 202 Fundamentals of New Media
Music Technology · Schulich School of Music · McGill UniversityFall 2013 · Charalampos Saitis, Vincent Freour
OUTLINE
Course description
This course provides a theoretical and practical introduction to selected areas of music technology. Topics include digital audio and sampling theory, MIDI and sequencing, audio editing and mixing, elementary sound recording, score editing software and current areas of research interest.General information
- Credits: 3
- Day, place and time: Monday, 5:30 - 8:30 pm, room C-204 (Strathcona Music Building)
- Access to instructor and TAs: by appointment via email
- TA hour: Wednesday, 3.30-4.30 PM, room E-215 (Strathcona Music Building, MTCL)
Learning outcomes
- To understand the basics of digital audio.
- To have an understanding of MIDI and how control protocols are used to create music.
- To gain basic audio editing skills.
- To provide an introduction to score editing and the symbolic manipulation of music.
Course materials
- Optional Readings:
- David M. Howard and Jamie Angus, Acoustics and Psychoacoustics, 4th edition, Focal Press 2009
- Curtis Roads, The Computer Music Tutorial, The MIT Press 1996
- Rumsey and McCormick, Sound and Recording: An Introduction, 6th edition, Focal Press 2009
- Rumsey, MIDI Systems and Control, 2nd edition, Focal Press 1994
- Music-Tech Computer Lab (MTCL) All registered students will automatically have access to the MTCL. Overnight passes will not be issued until the end of the term. Please note that the maximum storage capacity for your MTCL network account will be 5 GB. Unfortunately, there is no guarantee that this account will be backed up.
Resources
Software
- Logic
- Audacity
- Finale
Multimedia Equipment
- McGill IMS lends out multimedia equipment for free during office hours. Reserve at least 2 weeks in advance.
www.mcgill.ca/ims/
(514) 398-8833
Redpath Library Room 22 - The Marvin Duchow Music Library has 2 M-Boxes to be borrowed with PowerBooks (at the 4th floor Loans desk).
Evaluation
- Assignments (50%)
- Assignments 1-4, 5% each
- Assignments 5 and 6, 15% each
- Midterm (15%)
- Final Project (25%)
- Class Participation (10%)
- McGill University values academic integrity. Therefore all students must understand the meaning and consequences of cheating, plagiarism and other academic offences under the Code of Student Conduct and Disciplinary Procedures (see www.mcgill.ca/students/srr/honest ) for more information).
- In accord with McGill University's Charter of Students' Rights, students in this course have the right to submit in English or in French any written work that is to be graded.
Late assignment policy
- Late assignments within 48 hours past the deadline will be given a C, D or F (i.e. 40% deduction on top of the normal deductions for mistakes).
- Assignments submitted after 48 hours past the deadline will be given F.
last updated : 9-10-2013
Do I have to audition on a musical instrument?
No. The applications for the Minor programmes in Music Technology do not require an audition. Students from most faculties at McGill University can apply to the Minor programmes at the end of their first year of study.Note: Students that wish to apply to a Bachelor's program in the Schulich School of Music must audition. See the requirements regarding auditions for more information.
What computer platform do you use?
All computer-based courses in Music Technology use the Machintosh
platform. If you are interested in purchasing a computer before
arriving, we recommend any current model of Apple Macintosh.
More information on Apple computers (models, prices, conditions) can be found in the McGill Computer Store site.
More information on Apple computers (models, prices, conditions) can be found in the McGill Computer Store site.
http://music.columbia.edu/cmc/musicandcomputers/chapter2/02_02.php
computer music
| [3 Credit(s)] | ||||||||||
| ||||||||||
http://www.shss.ust.hk/music_arts/index.html
ntroduction
HKUST and SHSS has launched an
innovative approach to creative arts education based on the principle
of Research Embedded Teaching:
Teachers are active practitioners who teach a
curriculum based on their own 'research,' that is creativity rather
than criticism.
Students are taught to understand the arts from the perspective of creators and producers rather than consumers and critics.
Begun in 2012, the lead programme is in
music composition and performance, coordinated by
internationally-acclaimed composer, pianist, and conductor, Prof. Bright Sheng (Y.K.Pao Distinguished Visiting Professor, HKUST) and centered around The Intimacy of Creativity.
Hailed by the Financial Times as 'the
city's most innovative music experience', The Intimacy of Creativity is
an annual two-week partnership devoted to promoting an intimate
dialogue between composers and performers. World-renowned composers and
performers, together with emerging composers, present and revise their
chamber music compositions after in-depth Open Discussions on the
campus of HKUST. Revised compositions are formally presented at Preview
Concerts at HKUST and World Premiere Concerts in downtown Hong Kong.
The Intimacy of Creativity is presented
by HKUST as part of HKUST Music Alive!, a new concert series promoting
HKUST as a global center for creative, well-rounded education.
The School offers a variety of music courses in which
students learn the value of creativity and collaboration and its
applications in the other fields of study. Courses are currently taught
by Composers-in-Residence, Prof. Matthew Tommasini and Prof. Steven Snowden; tenor, Prof. Oliver Lo; renowned violinist and HKUST Honorary Fellow, Prof. Takako Nishizaki; and Dr. Amy Sze.Beginning in 2013, HKUST offers HKUST Summer Music!, including HUMA2000A: A New Approach to Music Making, a new innovative SHSS course taught by Prof. Bright Sheng, along with courses taught by other HKUST music faculty and special guest artists offered through the HKUST Summer Institute.
Courses currently include:
HUMA1100: Music of the World HUMA1102: Enjoyment of Classical Music
HUMA2000A: A New Approach to Music Making
HUMA2103: Introduction to Music Composition
HUMA2104: Introduction to Music Theory
HUMA2105: Music, Drama, and Theatre
HUMA3101: Western, Opera, and Literature
HUMA3102: Making Chamber Music A
HUMA3103: Making Chamber Music B
http://www.yorku.ca/gradmusi/ma_eth_mus.html
About the Program
The Graduate Program in Music offers both MA and PhD degrees in broadly defined research areas that include composition, ethnomusicology, jazz, musicology, performance, and popular music.The program offers a wide variety of academic opportunities with an emphasis on individual curriculum choice. Common areas of student interest include: jazz, popular music, sacred music, concert repertoires, pedagogy, performance studies, urban music, composition, western art music, commercial music, recording industry, choral music, ethnography, theory, analysis, in addition to folk, country, and world musics. Recognition is given to the multiple cultures that coexist in contemporary society and to the many contexts and issues which shape musical expression and research. Members of the program are concerned with the scholarly study of composition, improvisation, aural cognition, mediation and reception, performance, analysis, speculative theory, as well as cultural studies and criticism.
Faculty members include jazz musicians, ethnomusicologists, classical performers, historians, theorists, and composers who are involved in their specialized areas of research and share a concern for the critical study of methodologies and creative procedures.
Degree Programs > Master's Degree
| Degree Programs | Master's Degree | Combined Master of Business Administration & Master of Arts | Doctor of Philosophy |To be considered for admission, an applicant must be a graduate of a recognized university, normally with at least a B (second class) standing, assessed over the last two years of academic study. Strength in musicianship, as well as knowledge of European music history, is expected of students entering the program.
In addition, applicants should have an undergraduate degree in music or a relevant major in the humanities or social sciences. If the undergraduate degree is in a subject other than music, applicants should have at least a minor concentration in music or the equivalent in training and experience (to be determined by the program’s graduate admissions committee). Applicants without the expected academic qualifications may be asked to make up deficiencies.
All applicants should submit:
- a statement of intent (no less than 500 words);
- two examples of scholarly writing; and,
- an updated résumé (curriculum vitae).
The program accepts only those qualified applicants who are able to benefit from the faculty and facilities available.
MA Degree by Thesis, Ethnomusicology/Musicology Candidates for the MA degree by thesis must satisfactorily complete the following:
- Courses
Music 5010 6.0: Problems and Methods of Musical Research plus FOUR additional half courses which differ substantially in subject area and/or methodological approach. These electives may include a course in a cognate discipline related to the student’s principal research interests, or a directed reading course.
- Language
An examination testing the student’s reading knowledge of French, German, or other relevant second language.
- Thesis
A thesis (generally 100 to 150 pages) on a topic approved by the program’s Graduate Executive Committee. The thesis project may require field work, or it may depend upon the use of archival or published materials. After formal submission of the thesis, an oral examination is held in accordance with the thesis regulations of the Faculty of Graduate Studies.
- Courses
Music 5005A 3.0: Seminar in Composition I (half course over two terms—year 1) and Music 5005B 3.0: Seminar in Composition II (half course over two terms—year 2), which combine private lessons and shared symposia; plus FOUR additional half courses offered by the program, including at least one of Music 5110 3.0: Early Twentieth-century Music: Form, Structure and Significance, Music 6210 3.0: Documentary and Interpretive Studies in Contemporary Music, Music 6250 3.0: Musical Analysis, or Music 6310 3.0: Musical Acoustics, Psychoacoustics and Formal Perception.
- Language
No language examination is required.
- Thesis: Composition and Paper
A composition and research paper on a topic approved by the program’s Graduate Executive Committee. The usual form of the composition thesis will be an extended musical score (or acoustic equivalent) in combination with a research paper. The research paper (generally 50 to 80 pages) will place the composition in the context of contemporary music with respect to its technical methods and style orientation. The principle guiding the composition thesis and its examination is that there must be distinct and extensive independent work which is defensible from the standpoints of its technical mastery, feasibility for performance, relation of means to aesthetic intention, and its composer’s awareness of sources and influences. After formal submission of the thesis, an oral examination is held in accordance with the thesis regulations of the Faculty of Graduate Studies.
- Courses
Music 5010 6.0 plus SIX additional half courses which differ substantially in subject area and/or methodological approach. One of these half courses may be a directed reading course.
- Language
An examination testing the student’s reading knowledge of French, German or other relevant second language.
- Research Paper
A research paper (generally 50 to 80 pages) on a topic approved by the program’s graduate executive committee, written under the direction of a member of the graduate faculty in music. The paper will be graded by the faculty member directing the research and by a second reader, appointed by the Graduate Program Director
F14-W15Y
FA MUSI 1012 3.00 A
Guitar for Non-Majors and Majors
F14-W15Y
FA MUSI 1014 3.00 A
Introduction to Classical Singing
F14-W15Y
FA MUSI 1020L 3.00 A
Classical Performance: Guitar
F14-W15Y
FA MUSI 1020M 3.00 A
Classical Performance: Voice
F14-W15Y
FA MUSI 1047 3.00 A
Chinese Classical Ensemble
F14-W15Y
FA MUSI 1050 3.00 A
Introduction to Jazz Performance
F14-W15Y
FA MUSI 1051 3.00 A
Jazz Workshop I
F14-W15Y
FA MUSI 1085 3.00 B
Piano for Non-Majors
F14-W15Y
FA MUSI 1094 3.00 A
Escola de Samba
F14-W15Y
FA MUSI 1099P 3.00 A
World Music: Pipa
F14-W15Y
FA MUSI 1099Z 3.00 A
World Music: Zhonghu and Erhu
F14-W15Y
FA MUSI 1140 3.00 B
Digital and Electronic Media I
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