NOTE: expect slides to be updated throughout the semester around the time the slides are presented.
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Jan 15 (Tues) |
Course Overview Syllabus MIDI Introduction |
Concepts What the course is about What is required of students Project work MIDI represents music performance actions Notes, note-on, note-off Timing in MIDI |
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Jan 17 (Thur) |
MIDI Standard Serpent Serpent MIDI API |
Reading Midi Standard: David’s MIDI Spec See also MIDI Tutorial for Programmers Concepts
Channels in MIDI Control change and what control changes affect How to use Serpent to send MIDI |
◀ Install and Test Serpent (nothing to hand in, but you’ll need this soon)
◀ Project 1: Output MIDI data (due Jan 29)
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Jan 22 (Tues) |
Discrete Event Simulation |
Reading Introduction to Discrete Event Simulation Concepts
What is Discrete Event Simulation? “Events” as timed procedure calls / method invocations Logical time vs. real time Scheduling and dispatching as primitives Creation of timed behaviors using scheduled events Waiting for enabling conditions: polling and signalling |
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Jan 24 (Thur) |
Events in Serpent Scheduling algorithms Active Objects |
Concepts
Representing events in Serpent Fast (log n) scheduling and dispatch algorithms Object protocols for scheduling and timing |
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Jan 29 (Tues) |
Virtual Time and Tempo Logical (or Virtual) Time Systems Tempo and Time Maps Formula Programming Language Multiple and Nested Logical Time Systems Precise Timing |
Reading Anderson, D. P. and Kuivila, R. 1990. A system for computer music performance. ACM Trans. Comput. Syst. 8, 1 (Feb. 1990), 56-82. Concepts
logical time as a specification of desired behavior tempo as slope of time map beats as integral of tempo time as integral of 1/tempo tempo and control parameters through computation in Formula nested and multiple tempo |
▶ Project 1: Output MIDI data (due Jan 29)
◀ Project 2: Music application using a scheduler and graphical interface (due Feb 14), p2canvas.srp sample code
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Jan 31 (Thur) |
Event buffers Latency Timed Messages |
Concepts forward synchronous systems event buffers active objects and their implementation how do event buffers reduce jitter at the cost of latency? examples of event buffering in applications, device drivers, hardware. |
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Feb 5 (Tues) |
Scheduling from Theory to Practice (no slides, see reading) |
Reading Scheduling and Graphical Interfaces (this is now incorporated into Serpent documentation here: Introduction to Scheduling: Scheduling and MIDI I/O Using Serpent libraries) Code from “Scheduling and Graphical Interfaces” (also available here in Serpent documentation) Concepts
Real-time scheduling in Serpent "Threads" via temporal recursion Stopping a Thread Pattern Using virtual time scheduler Graphical Interface Building Running schedulers under wxSerpent64 Forward Scheduling with PortMidi |
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Feb 7 (Thur) |
Music Theory (no slides, see reading) |
Reading An Introduction to Music Concepts Concepts
Rhythm: beats/quarter notes, meter Pitch: octaves, scales, intervals Harmony: triads, root, inversions, voicing Form: chord sequences, repeat, rondo, song form |
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Feb 12 (Tues) |
Algorithmic Music Composition I |
Concepts music as time series data Markov models estimating transition probabilities concurrency (Birmingham and Pardo) music as formal language hierarchical structure and its relationship to grammars context sensitive grammars |
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Feb 14 (Thur) |
Algorithmic Music Composition II |
Reading Elowsson, A. and Friberg, A. “Algorithmic Composition of Popular Music,” in Proceedings of the 12th International Conference on Music Perception and Cognition and the 8th Triennial Conference of the European Society for the Cognitive Sciences of Music, July 2012, pp 276-285 Kohonen, T. “A self-learning musical grammar, or ‘associative memory of the second kind’,” in IJCNN., International Joint Conference on Neural Networks (June 1989), vol 1, pp. 1-5. Concepts
use of pattern generators in music unsupervised sequence learning role of structure in music |
▶ Project 2: Music application using a scheduler and graphical interface (due Feb 14), p2canvas.srp sample code
◀ Project 3: Adding OSC control (due Feb 28), extras: p3.zip
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Feb 19 (Tues) |
Open Sound Control and O2 |
Reading Matthew Wright, Adrian Freed, Ali Momeni, “OpenSound Control: State of the Art 2003,” in Proceedings of the 2003 Conference on New Interfaces for Musical Expression (NIME-03), Montreal, Canada, 2003, pp 153-159. Roger B. Dannenberg and Zhang Chi. “O2: Rethinking Open Sound Control,” in Proceedings of the 42nd International Computer Music Conference, Utrecht: HKU University of the Arts Utrecht, 2016, pp. 493-496. Concepts
OSC & O2 addressing mechanisms OSC & O2 timing mechanisms OSC & O2 network addressing OSC & O2 reply, status, acknowledgements (or lack thereof) |
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Feb 21 (Thur) |
Clock Synchronization |
Concepts clock drift clock skew simple clock sync protocol |
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Feb 26 (Tues) |
Laptop Orchestras Music Networks Sequencers and MIDI Files |
Reading Jorg Stelkens. “peerSynth: A P2P Multi-User Software Synthesizer with new techniques for integrating latency in real time collaboration,” in ICMC 2003 Proceedings, 2003. Standard Midi Files: Standard Midi File Specification (This pdf was generated from a web page that is no longer online. It has a full MIDI spec including listings of controllers and General MIDI instruments as well as info on Standard Midi Files.) Concepts
Types and examples of laptop orchestras Example compositions for laptop orchestras network latency and musical implications packets best effort detecting lost packets retransmission acknowledgement Standard MIDI File format |
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Feb 28 (Thur) |
Max Family of Programming Languages for Music Soundcool |
Links cycling74.commaxobjects.compuredata.info Reading
Watch the video on this page: MAX MSP Overview Sections 2.1 through 2.8 in Pd Documentation Chapter 2 Theory of Operation Concepts
Visual Programming Outlets and Inlets Static “Data Flow” Graph Order of Execution Synchronous Audio Graphs Using Max/Pd to create sound |
▶ Project 3: Adding OSC control (due Feb 28), extras: p3.zip
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Mar 5 (Tues) |
MIDTERM |
◀ Project 4: Audio effect (due Apr 2)
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Mar 7 (Thurs) |
Music Robots (guest speaker: TBA) |
MIDSEMESTER BREAK Mar 8 (Fri) through Mar 17 (Sun)
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Mar 19 (Tues) |
Audio Concepts: Samples, Frames, Blocks Synchronous Processing Audio System Organization |
Reading Nicola Bernardini and Davide Rocchesso. ”Making Sounds with Numbers: A tutorial on music software dedicated to digital audio.“ In Proceedings of COST G-6 DAFX, 1998. Ross Bencina and Phil Burk, “PortAudio - an Open Source Cross Platform Audio API.” In Proceedings of the 2001 International Computer Music Conference, International Computer Music Association, 2001. Optional ReadingSteinberg VST Programming Examples Concepts
samples, frames, blocks how is audio signal processing computation organized? why must audio processing be synchronous? what does synchronous processing mean? callback/asynchronous api blocking/synchronous api typical scheduling strategies for audio applications what is the architecture of plug-ins? how do applications use plug-ins? |
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Mar 21 (Thur) |
Audio Unit Generator Software Organization for Music Signal Processing Web Audio |
Reading Andrej Hronco, “Making Music in the Browser - Web Audio API, Part 1 Concepts
Unit Generators and Object Oriented Programming Calculation Tree Order of Execution Block-by-block Processing of Audio WebAudio AudioContext AudioNode AudioParam scheduling |
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Mar 26 (Tues) |
Content-Based Music Information Retrieval Audio Alignment |
Reading McNab, R. J., Smith, L. A., Witten, I. H., Henderson, C. L., and Cunningham, S. J. 1996. “Towards the digital music library: tune retrieval from acoustic input.” In Proceedings of the First ACM International Conference on Digital Libraries (Bethesda, Maryland, United States, March 20 - 23, 1996). E. A. Fox and G. Marchionini, Eds. DL ’96. ACM Press, New York, NY, 11-18. Dannenberg, Dynamic Programming for Music Search Concepts
QBH - what it does Themes DP for approximate substring matching Music fingerprinting - what it does Music fingerprinting - features Music fingerprinting - hashing techniques |
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Mar 28 (Thur) |
TBD - maybe SoundCool, Web Audio |
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Apr 2 (Tues) |
Concurrency Part 1 |
Reading Two Models for Concurrent Programming Alex Edwards, Understanding Mutexes |
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Apr 4 (Thur) |
Concurrency Part 2 |
Concepts
“Classical” synchronization primitives: locks, semaphores Synchronization with message passing/mailboxes Real-time issues: blocking, priority inversion Lock-free synchronization Earliest deadline first scheduling |
▶ Project 4: Audio effect (due Apr 2)
◀ Project 5: Interactive Performance (interim report due Apr 11, previews Apr 22-23, concert 3:30PM, Apr 28 (Sun), final report due May 1 p5.zip
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Apr 9 (Tues) |
Music Representation |
Reading Dannenberg, R. “Music Representation Issues, Techniques, and Systems.” Computer Music Journal, 17(3), pp. 20-30 Buxton, W., Sniderman, R., Reeves, W., Patel, S. & Baecker, R., “The Evolution of the SSSP Score Editing Tools.” In Roads, C. & Strawn, J. (1985). Foundations of Computer Music. MIT Press, Cambridge MA, 376-402. Concepts
File Formats: Operations on scores: Hierarchical Scores Multiple Hierarchies special purpose vs. general/extensible representations why is music notation difficult? how much notation information is in a MIDI file? scores as data types - operations on scores hierarchy in music data |
▶ Project 5: Interactive Performance (interim report due Apr 11, previews Apr 22-23, concert 3:30PM, Apr 28 (Sun), final report due May 1 p5.zip
Spring Carnival (no classes) Apr 11 (Thu) through Apr 14 (Sun)
◀ Project 5: Interactive Performance (concert 3:30PM, Apr 28 (Sun)) p5.zip
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Apr 16 (Tues) Roger Linn's directory of New Electronic Musical Instruments |
Sensors and Instruments (guest speaker: Roger Linn) |
Concepts input devices and sensors computer music instruments NIME: New Interfaces for Music Expression |
◀ Project 6: Genre Classifier (due May 3) p6_helper.zip data_genre.zip data_genre_small.zip Note: you can use either data_genre.zip (482MB) or data_genre_small.zip (24MB), but try to use the large one.
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Apr 18 (Thur) |
Music Representation (continued) |
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Apr 23 (Tues) |
Music Understanding Human-Computer Music Performance |
Reading Dannenberg, R. and Raphael, C., “Music Score Alignment and Computer Accompaniment,“ in Communications of the ACM, 49(8) (August 2006), pp. 38-43. Concepts
computer accompaniment score following monophonic melodies polyphonic keyboard performance vocal performance accompaniment synchronization score is known, timing is unknown performance error and robust matching dynamic programming probabilistic score following techniques semi-autonomous accompaniment generation How does HCMP differ from Computer Accompaniment? What are the challenges for HCMP? The beats, measures, cues model of synchronization How does HCMP use virtual time, forward synchrony, etc.? machine learning of style recognition onset detection |
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Apr 25 (Thur) |
Music Features |
Reading Dannenberg, Thom, and Watson, “A Machine Learning Approach to Musical Style Recognition” in 1997 International Computer Music Conference, International Computer Music Association (September 1997), pp. 344-347. Concepts
chroma vectors chromagram principles of beat detection tempo estimation vs beat tracking |
▶ Project 5: Interactive Performance (preview Apr 22 & 23) p5.zip
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Apr 27 (Sat) Rehearsals |
Rehearsal: 1:30-3PM in GHC 7208 (same room as previews) |
Rehearsals are optional, but a good place to test and figure out how to best feature your work in the concert. I hope you can make one of them. |
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3:30PM, Apr 28 (Sun) |
load-in: 10am-12 (GHC 7208) setup: 12-1:30pm (STUDIO, CFA 111) class arrives, plug in: 1:30pm run-through: 2pm doors open to public: 3pm Concert, 3:30pm, invite your friends! load-out: 4:30-6pm |
Concert location: Frank-Ratchye STUDIO for Creative Inquiry, CFA 111 Guest (semi)Conductor: Brian Riordan, award-winning composer and Ph.D. candidate, University of Pittsburgh |
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Apr 30 (Tues) |
Audio Editors |
Concepts How Audacity Works Efficient editing structures Destructive/Non-destructive editing |
▶ Project 5 Final Report due May 1 p5.zip
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May 2 (Thurs) |
Semester Review |
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▶ Project 6: Genre Classifier (due May 3) p6_helper.zip data_genre.zip data_genre_small.zip Note: you can use either data_genre.zip (482MB) or data_genre_small.zip (24MB), but try to use the large one.
Final Exam: Time: May 10, 5:30-8:30pm, Location: POS 152