Computer-Based Music Composition

The course aims at building theoretical and practical knowledge about compositional processes in current Digital Audio Workstations dedicated to musical composition and audio production. Elements of algorithmic formalisation of composition, including both notation and sampling, are part of the course. The course also includes algorithmic formalisation of aspects of music theory, production of concrete and synthetic sounds through recording, processing, mixing and editing techniques.Not only do various genres of computer-based music production, from basic arrangements to computer-assisted and algorithmic composition, to concrete-acousmatic music, from computer music to live electronics to electronic-music performance — share specific applications on an individual workstation. There are also new opportunities for expansion using dedicated software environments (Open Music, Max, Pure Data, Super Collider, and more.) The ultimate goal is to hone a student's technical and musical acumen to allow them to make judicious use, whether at the conception or the design phase, of the various compositional and technical aspects available through current electro-acoustic and computer-based technologies.

The concept of "material" in music, and the expansion of sound material for composition with respect to what has been developed with computer-based and electro-acoustic systems: acoustic sources, digital and analogue synthesis, electric and electronic instruments.
The idea of "process and derivation" of sound material: analogue and digital recording, processing, and manipulation based on different kinds of source materials, digital analysis of concrete sounds, extraction of spectral components, and approximating conversions in the domain of musical notation.
Computer-assisted and interactive composition in the domain of music notation, coding musical notation with through porting into sequencers for arrangements via software, sound libraries, and virtual instruments.
Concrete-acousmatic music practices in the broad sense, to include music composed with acoustic instruments (Mixed Music).
Sound synthesis in the frequency and spectral continuum, modal and non-modal-historic pitch systems and others, various types of harmonic agglomerates and clusters. Analysis and re-synthesis techniques, timbral affinities, and spectral synthesis, shift from the pitch domain (melody) to the spectrum domain (timbre). Deriving harmonic regions or timbral agglomerates from spectral analysis, for the purpose of both sound synthesis and acoustic music writing.
Live Processing (live electronics) and expanded instrumental techniques as a broadening of musical material, spatialisation of sounds, and creation of virtual acoustic spaces with multi-channel broadcast systems.
The study path contemplates algorithmic and computer-assisted composition (Open Music); audio recording, editing, and processing, synthesis and sound spatialisation (Max); sound design and audio-musical production.
Structuring a complete audio and musical production cycle in terms of the conception process, the musical materials chosen, and the hardware / software technology environments deemed most fitting.