211 - 220 of 226 results for: MUSIC

Computational methods in musical sound synthesis and digital audio effects based on acoustic physical models. Topics: acoustic simulation with delay lines, digital filters, and nonlinear elements; comb filters; allpass filters; artificial reverberation; delay-line interpolation and sampling-rate conversion; phasing, flanging, and chorus effects; efficient computational models of strings, woodwinds, brasses, and other musical instruments. See http://ccrma.stanford.edu/courses/420/. Prerequisites: 320 or equivalent; PHYSICS 21 or equivalent course applying Newton's laws of motion; and CS 106B or equivalent programming in C and C++.

Preferred software embodiments for digital sound synthesis and audio effects. Topics: The Faust language for audio signal processing, effects programming, plugin generation for various platforms, software components for stringed and wind musical instruments, delay effects, variable filters, and nonlinear effects such as compression and distortion. The principal activity is a software project due at the end of the quarter. Prerequisite: Music 420A or equivalent experience with audio signal processing in C++. Recommended Corequisite: Music 424

History and basic principles: development of psychoacoustics-based data-compression techniques; perceptual-audio-coder applications (radio, television, film, multimedia/internet audio, DVD, EMD). In-class demonstrations: state-of-the-art audio coder implementations (such as AC-3, MPEG) at varying data rates; programming simple coders. Topics: audio signals representation; quantization; time to frequency mapping; introduction to psychoacoustics; bit allocation and basic building blocks of an audio codec; perceptual audio codecs evaluation; overview of MPEG-1, 2, 4 audio coding and other coding standards (such asAC-3). Prerequisites: knowledge of digital audio principles, familiarity with C programming. Recommended: 320, EE 261. See http://ccrma.stanford.edu/.

Research discussion, development, and presentation by graduate students, visiting scholars, and CCRMA faculty in the areas of music and/or audio technology. See http://ccrma.stanford.edu/courses/423/ for latest information. May be repeated for credit a total of 11 times.

Stanford's Internet2-based Soundwire Ensemble rehearses with the East Coast Tintinnabulate Ensemble directed by Pauline Oliveros, Rensselaer Polytechnic Institute. Concerts, composition, and improvisation projects using resources available when connecting with remote musicians. State-of-the-art audio and video technology developed by ensemble participants. May be repeated for credit.

Independent engineering of recording sessions. May be repeated for credit a total of 14 times. Prerequisites: 192A,B.

The intersection of music theory and compositional practice in different eras of Western music history. Primary sources in music theory and issues such as notation, rhythm, mode, dissonance treatment, counterpoint, tonality, form, rhetoric, affect and imitation, expression, linear analysis, 12-tone and set theory, in light of relevant repertoire and modern scholarship. May be repeated for credit a total of 5 times.

By instructor approval. Emphasis is on using computers to build systems that apply algorithmic or stochastic processes to assist in detailed control over timbre and the creation or manipulation of musical structures and spatial properties in real-time. Topics include: Algorithmic and stochastic methods, sound design, FM synthesis, drum programming, spatialization, aesthetics, tool building, musical structures, reverberation, sequencing. Group and project based with lectures. Final live performance. Concepts presented primarily with Max/MSP/Max4Live software. To apply: https://ccrma.stanford.edu/courses/223M. Enrollment limited to 20.

Aesthetic, design, and implementation of mobile music, centered around the modern super smartphones such as the iPhone). Similarities and intrinsic differences between mobile and traditional computing and design for music. Topics include mobile software design, social and cloud computing, mobile interface design, and programming phones, in the service of music. Prerequisite: MUSIC 256A.