Summary
Study of Synthesis, Processing, and Sound Treatment for Aesthetic and Musical Purposes from a Psychophysiological Perspective
This module is based on the study of sound perception and its integration into the Central Nervous System, with the aim of providing essential knowledge for the mandatory application of technical and aesthetic tools in musical creation using both electronic and mechanical means. From this perspective, and with the intention of offering the broadest possible overview, the theoretical sessions focus on the study of various sound processing and generation algorithms and tools, as well as their specific uses in experimental music. Therefore, an important part of the teaching methodology is based on listening to and analyzing representative works from each aesthetic orientation. The other equally important part is the creation of short compositions related to the theoretical topics covered in each session, addressing one psychoacoustics topic and one or two experimental music topics, depending on complexity.
This module considers Max as a fundamental tool, using the FLUCOMA library, which is based on Artificial Intelligence. Additionally, many examples will be based on Reaper, Audacity, Sonic Visualizer, and other synthesis and processing tools, including various plugins, MIDI sequencing, and multitrack mixing.
ABBREVIATED SYLLABUS
- Introduction to the psychophysiology of sound perception
- Transduction
- General hearing scenario. Sound source, medium, receiver
- Structure of the (receiver) auditory system
- Diagram of transductions in the auditory system
- Perception of sounds. Frequence. Amplitude. Perceptual scales of height and dynamics. Sound spectrum
- Critical bands
- Phased spaces of sound and musical perception. Articulation. Color Micro-melody
- Sound synthesis
- Basic methods of synthesis: Additive, Subtractive, Frequency modulation, Linear and nonlinear distortion
- Elaborated synthesis methods: Granular, Stochastic
- Convolution and cross synthesis. Phase Vocoder
- Composition · Textures · Graphic Scores · Time structure
- Sound editing and treatment
- Simple effects on the temporary domain – Edition
- Simple effects on amplitude.3.3. DC Off-set
- Inversion
- Amplitude modulation – Trémolo
- Simple effects on frequency
- Dynamic Range Processors
- Filtering (and filter-based effects)
- Effects based on delay
- Effects on signal amplitude: compression
- Complex effects. Multiband compression.
PSYCHOACOUSTICS · DETAILED SYLLABUS
Topic 1 // Introduction to Musical Psychoacoustics. Basic Concepts
• The relationship between stimulus and sensation: Frequency / Pitch.
• Amplitude, Sound Intensity, and Loudness Perception.
• Exercises and Tools: Max, Reaper, Audacity, Sonic Visualizer
Topic 2 // Functional Description of the Auditory System
• Functional Description of the Peripheral Auditory System I.
• Functional Description of the Peripheral Auditory System II.
Topic 3 // Functional Description of the Central Auditory System
Topic 4 // Pitch Perception
Topic 5 // First- and Second-Order Psychoacoustic Effects
• First-Order Psychoacoustic Effects.
• Second-Order Psychoacoustic Effects.
Topic 6 // Loudness Perception
Topic 7 // Timbre: A Multidimensional Approach
• Amplitude, frequency, time, micro-melody, spectrum, dynamics, and articulation.
• Tools: Sonic Visualizer, ZSA Descriptors, Basic Waveforms.
EXPERIMENTAL MUSIC · DETAILED SYLLABUS
Topic 8 // Introduction to Experimental Music
• Music and Experimentalism.
Topic 9 // Experimental Music Notation · Grids, Special Notations, and Graphic Scores
• Types of Grids.
• Special Notations.
• Graphic Scores.
• Exercise: Create a Graphic Score.
Topic 10 // Concrete Music and Electroacoustic Music. Audio Editing and Mixing
• Sound Object.
• Audio Editing, Montage, and Mixing.
• Concrete Music, Electroacoustic Music, and Acousmatic Arts.
• Listening and Analysis of Works.
• Exercise: Create a Concrete Music Piece.
Topic 11 // Electronic Music. Classical Algorithms
• Electronic Music.
• Analysis of Studie II · Karlheinz Stockhausen.
• Basic Sound Synthesis Algorithms.
• Exercise: Create Sound Mixtures, then develop a Fully Electronic Piece.
Topic 12 // Synthesis · Electronic and Electroacoustic Music · Time-Domain Algorithms
• Digitalization and Wavetable Synthesis.
• Time-Domain Sound Synthesis: Waveshaping.
• Time-Domain Sound Synthesis: Frequency Modulation.
• Time-Domain Sound Synthesis: Subtractive Synthesis.
• Time-Domain Sound Synthesis: Synchronous and Asynchronous Granular Synthesis.
• Listening and Analysis of Works.
• Exercise: Create a Short Piece Using Time-Domain Algorithms.
Topic 13 // Synthesis · Electronic and Electroacoustic Music · Frequency-Domain Algorithms
• Frequency-Domain Synthesis.
• Additive Synthesis and Convolution.
• Listening and Analysis of Works.
• Exercise: Create a Short Piece Using Additive Synthesis.
Topic 14 // Processing · Electronic and Electroacoustic Music · Time-Domain Algorithms
• Time-Domain Processing Algorithms: Filters.
• Listening and Analysis of Works.
• Exercise: Create a Short Piece Using Filtering of Non-Synthetic Sounds.
Topic 15 // Processing · Electronic and Electroacoustic Music · Frequency-Domain Algorithms
• Frequency-Domain Processing Algorithms: Convolution.
• Listening and Analysis of Works.
• Exercise: Create a Short Piece Using Convolution of Non-Synthetic Sounds.
Topic 16 // Processing · Electronic and Electroacoustic Music · Dynamic Algorithms
• Dynamic Sound Processing.
• Listening and Analysis of Works.
• Exercise: Create a Piece Based on Dynamic Processing of Non-Synthetic Sounds.
Evaluation criteria
1. Electronic musical composition with computer and speakers only, without instrumental manipulation, 7 minutes and made only with the concepts developed in the classroom during the course, adhered to the previous program specified. Percent: 60%
2. Participation in class and comments on the topics and exercises raised in the classroom. Percent: 40%
Bibliography
1. Introduction to the psychophysiology of sound perception
BENADE, A., Fundamentals of Musical Acoustics. Nova York: Oxford University Press, 1976.
COOK, P. R. (ed.), Music, Cognition, and Computerized Sound: An Introduction to Psychoacoustics. The MIT Press, 1999.
HOWARD, D. i J. ANGUS, Acoustics and psychoacoustics. Londres: Focal Press, 2000.
MATLIN, M. W. i H. J. FOLEY, Sensación y percepción. Madrid: Prentice Hall Iberia, 1996.
MOORE, B., An Introduction to the Psychology of Hearing. Londres: Academic Press Ltd., 2003.
MUNAR, E., J. ROSSELLó i A. SáNCHEZ-CABACO, Manual de Atención y Percepción. Madrid: Alianza, 1999.
PIERCE, J. R., Los sonidos de la música. Barcelona: Labor, Biblioteca Scientific American, 1985.
PLACK, C. J., The sense of hearing. Nova Jersey: Mahwah, Erlbaum, 2005.
ROSSING, T. D., The Science of Sound. Addison Wesley, 1990.
ZWICKER, E., H. FASTL i H. FRATER, Psychoacoustics: Facts and Models. Berlín: Springer, 1999.
2.Editing and sound treatment
ALKIN, G., Sound Techniques for Video and TV. Londres: Focal Press, 1989.
BURGER, J., The Desktop Multimedia Bible. Nova York: Addison-Wesley, 1993.
CARRAZÓN, J. C., Audio3D. Madrid: Anaya Multimedia, 1996.
JORDÀ, S., Audio digital y MIDI. Madrid: Anaya Multimedia, 1997.
NISBETT, A., The sound studio. Londres: Focal Press, 1995.
RUMSEY, F., Digital Audio Operations. Oxford: Focal Press, 1991.
—, The Audio Workstation Handbook. Oxford: Focal Press, 1996.
— i T. McCormick, Sound and Recording: an Introduction. 1994. (Existeix traducció a l’Espanyol de la primera edició pel IORTV).
SCHAEFFER, P., Tratado de los objetos musicales. Madrid: Alianza, 1988.
ZAZA, T., Audio Design. Nova Jersey: Prentice Hall, 1991.
3. Sound Synthesis
BALLORA, M., Essentials of Music Technology. Nova Jersey: Prentice Hall, 2003.
BLESSER, B., “An Interdisciplinary Synthesis of Reverberation Viewpoints”. Journal of the Audio Engineering Society, Vol. 49 (10), 2001, pp. 867-903.
BOULANGER, R., The Csound Book. The MIT Press, 2000.
CHOWNING, J., “The Synthesis of Complex Audio Spectra by Means of Frequency Modulation”. Journal of the Audio Engineering Society, Vol. 21, 1973, pp. 526-534.
—, “Frequency Modulation Synthesis of the Singing Voice”. M. V. Mathews i J. R. Pierce (eds.), Current Directions in Computer Music Research. The MIT Press, 1989, pp. 57-64.
COOK, P. R. (ed.), Music, Cognition and Computerized Sound. The MIT Press, 1999.
DODGE, Ch. i T. A. JERSE, Computer Music: Synthesis, Composition, and Performance. Nova York: Schirmer, 1985.
DOLSON, M., i J. LAROCHE, “About this Phasiness Business”. Proceedings of the International Computer Music Conference. Ann Arbor: International Computer Music Association, 1997, pp. 55-58.
GREY, J. M., i J. A. MOORER, “Perceptual Evaluations of Synthesized Musical Instrument Tones”. Journal of the Acoustical Society of America, Vol. 62, 1977, pp. 454-462.
HARTMANN, W. M., “Digital Waveform Generation by Fractional Addressing”. Journal of the Acoustical Society of America, V. 82, 1891, 1987, pp. 883.
JORDÀ, S., Audio digital y MIDI. Madrid: Anaya Multimedia, 1997.
MOORE, F. R., Elements of Computer Music. Nova Jersey: Prentice Hall, 1990.
—, An Introduction to the Mathematics of Digital Signal Processing. McGraw Hill, 1986.
POHLMANN, K. C., Principios de Audio Digital. Madrid: McGraw-Hill, 2002.
PUCKETTE, M., Theory and Techniques of Electronic Music. World Scientific Press, 2007.
SMITH III, J. O., Introduction to Digital Filter Theory. STAN M-20, 1985.
—, Mathematics of the Discrete Fourier Transform (DFT), with Music and Audio Applications. Menlo Park (California): W3K Publishing, 2003.
ROADS, C. (ed.), The Computer Music Tutorial. The MIT Press, 1996.
—, Microsound. The MIT Press, 2004.
RUSS, M., Síntesis y Muestreo de Sonido. Madrid: Instituto Oficial de Radio y Televisión, 1999.