Computer science | LABORATORY OF MUSIC INFORMATICS

cod. 0512100033

LABORATORY OF MUSIC INFORMATICS

	0512100033
	DIPARTIMENTO DI INFORMATICA

	COMPUTER SCIENCE
	2013/2014

CURRICULUM METODOLOGICO Cohort 2012/2013

	YEAR OF COURSE 2
	YEAR OF DIDACTIC SYSTEM 2008
	PRIMO SEMESTRE

TEACHING UNITS

	SSD	CFU	HOURS	ACTIVITY	TYPE OF ACTIVITY
	INF/01	3	36	LAB	OPTIONAL SUBJECTS

	Objectives
	- KNOWLEDGE AND UNDERSTANDING UNDERSTANDING THE NATURE, FUNCTIONS AND USE OF THE MAIN COMPUTER AND DSP BASED TECHNIQUES FOR THE PRODUCTION OF STATE OF THE ART AUDIO, FROM BASIC AUDIO PROCESSING TO "TRADITIONAL" SUBRACTIVE SYNTHESIS ("ANALOG"). - ABILITY TO APPLY KNOWLEDGE AND UNDERSTANDING THE STUDENTS WILL BE ABLE TO RECOGNIZE THE SONIC PROBLEMS THAT MUST BE SOLVED AND TO APPLY THE RIGHT TREATMENTS BY USING THE RIGHT TOOLS APPROPRIATELY. THEY WILL BE ABLE TO APPROXIMATE SUBTRACTIVELY SYNTHESIZED SOUNDS AND TO USE SAMPLING. - AUTONOMOUS JUDGMENT THE MOST IMPORTANT ABILITY TO BE DEVELOPED IS ANALYTICAL LISTENING. THIS WILL PROVIDE AUTONOMOUS JUDGMENT. - COMMUNICATION ABILITIES COMMUNICATION HAPPENS MAINLY BY PRODUCING SOUND ARTIFACTS. - LEARNING ABILITIES: THE ABILITY TO LISTEN ANALYTICALLY AND THE UNDERSTANDING OF A FEW GENERAL PRINCIPLES WILL ALLOW THE STUDENTS TO CARRY ON EXPANDING THEIR EXPERIENCE ACCORDING TO NECESSITY AND INDIVIDUAL PREFERENCE.

- KNOWLEDGE AND UNDERSTANDING

UNDERSTANDING THE NATURE, FUNCTIONS AND USE OF THE MAIN COMPUTER AND DSP BASED TECHNIQUES FOR THE PRODUCTION
OF STATE OF THE ART AUDIO, FROM BASIC AUDIO PROCESSING TO "TRADITIONAL" SUBRACTIVE SYNTHESIS ("ANALOG").

- ABILITY TO APPLY KNOWLEDGE AND UNDERSTANDING

THE STUDENTS WILL BE ABLE TO RECOGNIZE THE SONIC PROBLEMS THAT MUST BE SOLVED
AND TO APPLY THE RIGHT TREATMENTS BY USING THE RIGHT TOOLS APPROPRIATELY. THEY WILL BE ABLE TO APPROXIMATE
SUBTRACTIVELY SYNTHESIZED SOUNDS AND TO USE SAMPLING.

- AUTONOMOUS JUDGMENT

THE MOST IMPORTANT ABILITY TO BE DEVELOPED IS ANALYTICAL LISTENING. THIS WILL PROVIDE
AUTONOMOUS JUDGMENT.

- COMMUNICATION ABILITIES

COMMUNICATION HAPPENS MAINLY BY PRODUCING SOUND ARTIFACTS.

- LEARNING ABILITIES:

THE ABILITY TO LISTEN ANALYTICALLY AND THE UNDERSTANDING OF A FEW GENERAL
PRINCIPLES WILL ALLOW THE STUDENTS TO CARRY ON EXPANDING THEIR EXPERIENCE
ACCORDING TO NECESSITY AND INDIVIDUAL PREFERENCE.

	Prerequisites
	NO PARTICULAR BACKGROUND IN COMPUTERS IS REQUIRED.

	Contents
	THE CHOICE OF SUBJECTS PARTLY DEPENDS ON THE AUDIENCE. FOR EXAMPLE, IT IS POINTLESS TO SPEAK ABOUT NOTATION TO PEOPLE WHO CAN'T READ MUSIC. MICROPHONES: TYPES, FEATURES, USE. CONSOLES/MIXERS: FUNDAMENTALS. BASIC AUDIO PROCESSING: EQUALIZATION, DYNAMICS (COMPRESSORS/EXPANDERS-GATES). EFFECTS (DELAY, ALGORITHMIC REVERBS). "LINEAR"-TYPE EFFECTS (CONVOLUTION-BASED) AND NON- LINEAR EFFECTS (CHORUS ETC). PITCH SHIFTING. BASIC EDITING: CROSSFADING, RE-GAINING ETC. OPTIONAL SUBJECTS - SUBTRACTIVE SYNTHESIS: OSCILLATORS, FILTERS, ENVELOPES. SAMPLING AND RESYNTHESIS. FM SYNTHESIS. COMPUTER-ASSISTED NOTATION. ADVANCED VOCAL EDITING (COMPING, MELODYNE/AUTOTUNE).

Contents

THE CHOICE OF SUBJECTS PARTLY DEPENDS ON THE AUDIENCE. FOR EXAMPLE, IT IS POINTLESS
TO SPEAK ABOUT NOTATION TO PEOPLE WHO CAN'T READ MUSIC.

MICROPHONES: TYPES, FEATURES, USE. CONSOLES/MIXERS: FUNDAMENTALS. BASIC AUDIO
PROCESSING: EQUALIZATION, DYNAMICS (COMPRESSORS/EXPANDERS-GATES). EFFECTS
(DELAY, ALGORITHMIC REVERBS). "LINEAR"-TYPE EFFECTS (CONVOLUTION-BASED) AND NON-
LINEAR EFFECTS (CHORUS ETC). PITCH SHIFTING. BASIC EDITING: CROSSFADING, RE-GAINING ETC.

OPTIONAL SUBJECTS - SUBTRACTIVE SYNTHESIS: OSCILLATORS, FILTERS, ENVELOPES.
SAMPLING AND RESYNTHESIS. FM SYNTHESIS. COMPUTER-ASSISTED NOTATION. ADVANCED
VOCAL EDITING (COMPING, MELODYNE/AUTOTUNE).

	Teaching Methods
	LESSONS ARE MOSTLY WORKSHOP-STYLE, WITH THE TEACHER ILLUSTRATING A CONCEPT BY ACTUALLY DOING SOMETHING AND ASKING THE STUDENTS TO CARRY ON COMPLETING THE TASK.

	Verification of learning
	THE STUDENTS WILL COMPLETE A PROJECT - PREFERABLY TEAMWORK, ALTHOUGH INDIVIDUAL PROJECTS ARE ALSO ACCEPTED. THEY WILL PRODUCE AN AUDIO ARTIFACT. USUALLY A PIECE OF MUSIC IS CHOSEN, ORIGINAL OR NOT. HOWEVER, STUDENTS CAN PROPOSE DIFFERENT PROJECTS SUCH AS AUDIO/VIDEO SYNCHRONIZATION, SOUND SYNTHEESIS, SOUNDSCAPE PRODUCTION ETC. PROJECTS ARE GRADED DISREGARDING "ARTISTIC" ISSUES AS MUCH AS POSSIBLE: THE FOCUS IS ON THE TECHNICAL SIDE. THE FINAL GRADES REFLECT HOW CLOSE THE STUDENTS GOT TO THEIR OBJECTIVE, AND HOW COMPETENTLY THE AVAILABLE TOOLS WERE USED.

Verification of learning

THE STUDENTS WILL COMPLETE A PROJECT - PREFERABLY TEAMWORK, ALTHOUGH INDIVIDUAL
PROJECTS ARE ALSO ACCEPTED. THEY WILL PRODUCE AN AUDIO ARTIFACT. USUALLY A PIECE
OF MUSIC IS CHOSEN, ORIGINAL OR NOT. HOWEVER, STUDENTS CAN PROPOSE DIFFERENT
PROJECTS SUCH AS AUDIO/VIDEO SYNCHRONIZATION, SOUND SYNTHEESIS, SOUNDSCAPE
PRODUCTION ETC. PROJECTS ARE GRADED DISREGARDING "ARTISTIC" ISSUES AS MUCH AS
POSSIBLE: THE FOCUS IS ON THE TECHNICAL SIDE. THE FINAL GRADES REFLECT HOW CLOSE
THE STUDENTS GOT TO THEIR OBJECTIVE, AND HOW COMPETENTLY THE AVAILABLE TOOLS WERE
USED.

	Texts
	THERE ARE SEVERAL BOOKS, ARTICLES AND JOURNALS/MAGAZINES THAT COVER THE RELEVANT SUBJECTS, BUT NO SINGLE RESOURCE ALONE IS ADEQUATE. THE NECESSARY MATERIAL WILL BE PROVIDED BY THE TEACHER.

	More Information
	WHAT IS REQUIRED IS AN AUTHENTIC INTEREST FOR THE PRODUCTION AND PROCESSING OF AUDIO MATERIAL. THE COURSE WOULD BETTER SUIT A MUSICIAN OR ASPIRING SOUND ENGINEER STUDYING HUMANITIES THAN A SCARCELY MOTIVATED COMPUTER SCIENCE STUDENT WITH UNEDUCATED EARS.

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