School of Fine & Performing Arts

Department of Music

Course: MUS350-01Computer and Electronic Music Instructor: Bob Lukomski

Semester: Spring 2023 Email: lukomskr@newpaltz.edu
Location: CH-219/Online via Brightspace Office & Hours: CH-219
Meets: Tuesday/Friday 9:30-10:45 Friday 11-12 via sign up;
Credit Hours: 3.0 also by appt.
Modality: Fully seated

Course Description:
This course provides the student with training in MIDI and computer-driven electronic music processes. Exploration of electro-
acoustic music through a historical/analytical and hands-on approach.
Purpose of the Course:
Computer and Electronic Music is an integral part of contemporary music and culture. This course aims to give the student a
grounding in techniques and issues regarding the use of sound as a plastic medium, and, working from historical and theoretical
standpoints, seeks to provide the student with a context and framework to build upon for future exploration.
Learning Outcomes:
• Students will gain an understanding of the history and development of electronic music, including theory and technique through
reading, listening assignments, and in-class discussion.
• Students will gain a basic understanding of audio processing and manipulation, synthesis and MIDI sequencing through ongoing in-
class demonstrations & assignments cumulating in a major end-of-semester project.
• Students will create their own compositions and/or sound sculptures using techniques derived from elektronische musik traditions
and current electronica, employing sound design and using two-channel (e.g. stereo) audio systems.
• Students will develop their ability for critical listening and discussion by means of listening assignments, in-class demonstration and
problem-solving, and group critique of student composition.
• Students are encouraged to research current trends and technological developments, including trips to performances (when
appropriate).
Subjects to be Covered:
• History of electronic music, including musique concrète, elektronische musik, and current academic and popular trends
• Basic MIDI techniques from both a theoretical and practical standpoint
• Basic Methods of synthesis and signal processing
• An introduction to Digital Audio Workstations (DAWs), with a focus on Logic

Required Texts and Materials:

READING:
Essays and papers assigned by instructor on Brightspace in content>reading assignments
HIGHLY RECOMMENDED
• Holmes, Thom: Electronic and Experimental Music, 5th edition (ISBN 978-0-415-89636-8)
• Hosken, Dan: Music Technology and the Project Studio: Synthesis and Sampling
• McGuire, Sam: Modern MIDI (ISBN 978-0-415-83927-3)
• Prendergast, Mark: The Ambient Century (ISBN 0-7475-5732-2)
• Roads, Curtis: Composing Electronic Music: A New Aesthetic (ISBN978-0-19-537324-0)
LISTENING:
• Files provided by instructor on Spotify or Brightspace in content>listening assignments
SUGGESTED
http://ubu.com/sound/electronic.html This site is a fairly comprehensive survey of early electronic music.

REQUIRED MATERIALS:
• A 2GB (preferably 4GB or more) flash drive for file transfer and backup.
• A journal notebook to record your process and workflow for composing and working in the lab
Your journal will count toward your Classroom Involvement grade.
Professor Lukomski — MUS 350 — Computer and Electronic Music January 24, 2023
• A set of over the ear headphones with 1/4” adapter
Computer Lab Hours: Assignments will require use of the computer lab outside of class. The hours with sign up will be posted on
the door. It is your responsibility to get to the lab to work on assignments. More Importantly it is important that you responsibly take
care of equipment, your own especially.
Attendance Policy Statement:
Attendance is expected at all classes. Excused absences include religious observances, medical reasons, curricular activities, co-
curricular activities, and other reasons authorized by SUNY New Paltz administrative officers. Covid-related absences will be treated
as excused absences only if you test positive. Quarantine-related absences will be treated on a case-by-case basis. Make-up
opportunities may be made available - please discuss options with instructor. A signed note is required for me to consider the excused
absence; any other absence will result in 2 percentage points deducted from your Classroom Involvement grade for each absence.
There will be no other exceptions. Two instances of lateness will be treated as an unexcused absence – we are a small class and
arriving late is a disruption. 4 or more absences for any reason will result in a minimum of 5 percentage points taken off your final
grade. IF YOU EXPECT TO BE ABSENT YOU MUST EMAIL me 24 hours IN ADVANCE for me to CONSIDER make-up
assignments and/or grade adjustment. Extenuating circumstances will be handled at the instructor's discretion.
YOU have decided to take this course. IT IS YOUR RESPONSIBILITY TO SHOW UP AND DO THE WORK. If you have
scheduling problems and conflicts due to a job, other course work, or personal issues, I need you to COMMUNICATE
these problems to me ahead of time or as soon as possible. I want you to succeed in this course, and I will try to work
with you within the scope of my abilities and what is appropriate to make that happen.
Inclement Weather policy: In the case of weather events like torrential rain, snowstorm, ice storms, etc., safety is your primary
concern. If that means staying home or coming to class very late because of road conditions, chances are most people will have
similar problems. This will not affect your absence count.
A minimum grade of C- is required in all courses which count toward the Music Major.

Course Grading Policy: Final Grade Percentage

There are 100 points available during the semester. A >93
Final grades are based on the percentage of 100 points you earn A- >90
throughout the semester. B+ >87
B >83
Homework/Lab Assignments 30 % B- >80
Attendance/Participation 20 % C+ >77
Midterm 20 % C >73
C- >70
Final Project 30 %
D >60
TOTAL 100 % F <59

Method of Determining the Final Grade:

Grading for this course is based the following: Classroom involvement, lab assignments, mid-term exam, and final project.
Classroom Involvement consists of discussion of weekly listening and/or reading assignments, topics discussed in class, active
engagement in practical lessons. This also includes scheduling “check-ins” with Professor Lukomski to discuss projects/software or
hardware issues. Checking cell phones, web browsing on lab computers, “noodling” or other disengagement will result in a gentle
warning, and then 2 percentage points off your Attendance/Participation for each infraction.
Lab Assignments and Homework consist of readings & listening assignments, with short answer questions to demonstrate the
student's understanding of a practical concept or technique. These will be assigned with weekly, unless otherwise stated, lab
work/reading/listening is due by your next in-lab class. It will be graded as follows: 5 points — completed; 2 points — less than 50
percent complete; 0 points — less than 25 percent complete.

Audio Projects
Each student will create a midterm project of 2 minute work for synthesizers, and a final project - a 5 minute work for computer
electronics that will demonstrate the student's cumulative understanding of and tie together context, theory and technique into a unique
composition. You will be asked to provide written materials to supplement the final project.
FINAL CRITIQUE

THE FINAL PROJECT WILL DUE ON FRIDAY MAY 12 by 5 PM.

Last Day to Withdraw without Grade Penalty: SUNDAY MAY 2
Professor Lukomski — MUS 350 — Computer and Electronic Music January 24, 2023
Campus Policies (Please refer to this link)
https://www.newpaltz.edu/acadaff/academic-policies-including-academic-integrity/
SEI
You are responsible for completing the Student Evaluation of Instruction (SEI) for this course and for all your courses with an
enrollment of five (5) or more students. I value your feedback and use it to improve my teaching and planning. Please complete the
online form during the period April 26 to May 10.

Summary of Topics Covered and Tentative Course Schedule

• ALL LISTENING ASSIGNMENTS ARE ON THE SPOTIFY PLAYLIST “MUS 350/351 Listening assignments” or if noted,
on Brightspace in Content>Listening
• ALL READINGS ARE ON BRIGHTSPACE in Content>Reading
• ALL VIDEOS ARE ON BRIGHTSPACE in Content>Video

All assignments are due the following class; Some assignments will have specific due dates.
____________________________________________________________________________________
• Week 1: Introduction to electronic music, sound and synthesis
1/24 A brief introduction to electronic music, what it is, what it isn’t; a discussion of our methodology – What is Sound?
LISTENING: Russolo Risveglio Di Una Città (Awakening of a City), Track 1 on Spotify playlist
READING: Russolo Art of Noises; CEM History; Music Computer Lab Set Up
1/27 Basics of Sound and Digital Audio; Basics of Style Analysis
LISTENING: Tracks 2&3 on Spotify playlist
READING: Schaeffer, Acousmatics; Synthesizer Basics
ASSIGNMENT: Sound Grid (directions in announcements)

• Week 2: The subtractive synthesizer and subtractive synthesis

1/31 Discussion of MIDI versus voltage control; what is subtractive synthesis?
READING: Helm Manual; Cann, How to Make a Noise, Chapter 4
2/3 Introduction to Synthesis using the Helm synthesizer
LISTENING: Tracks 4&5 on Spotify playlist (Track 5 composed by Delia Derbyshire)
READING: Fundamentals of Audio Synthesis; Cann, Chapters 3 & 2
ASSIGNMENT: Download Helm, go through the patches; make note of 3 or 4 that you like and look at how all the parameters are set
for each patch

• Week 3: Sound design – 4 classes of sound

2/7 Continued discussion of Helm components – routing and saving
READING: Cann, Chapters 4&1
ASSIGNMENT: Create and save 4 patches following on the examples found in Fundamentals of Audio Synthesis
VIDEO: 1) Saving Patches, Export and Import Sound Banks in Helm and 2) Modulation Routing in Helm
2/10 More with creating patches
LISTENING: Tracks 6&7 on Spotify
READING: Introduction to MIDI

• Week 4: Using Logic, Using MIDI

2/14 Intro to the DAW, specifically Logic
ASSIGNMENT: Set up a basic project in Logic with 2 Synthesizers – Helm and Retrosynth
VIDEO:Setting up Logic Preferences; Set Up Project in Logic
2/17 More on Logic, MIDI regions; Introduction to Retrosynth
LISTENING: Tracks 8 on Spotify; Wendy Carlos track on Brightspace
READING:

• Week 5: Imitative and imaginative synthesis

2/21 What is imitative synthesis? Introduction to Tal-Noisemaker
ASSIGNMENT:
2/24 Imaginative synthesis – using other sounds as inspiration, asking “what if?”
LISTENING: Tracks 9&10 on Spotify
Professor Lukomski — MUS 350 — Computer and Electronic Music January 24, 2023
READING:
VIDEO:

• Week 6: Intro to effects processing and specialization; basic mixing techniques

2/28 FX Insert (& AUX FX); dynamic, timbral, spatial, and temporal processing with focus on EQ, Reverb, Chorus
3/3 Basic mixing strategies;
LISTENING: Tracks 11&12 on Spotify
READING:
ASSIGNMENT:
VIDEO:

• Week 7: MID-TERM
3/7 MID-TERM review
3/10 MID TERM EXAM 2-Minute Piece Due
LISTENING: Tracks 13,14&15 on Spotify
READING:
ASSIGNMENT:
VIDEO:

3/14 & 3/17 SPRING BREAK NO CLASSES

• Week 8: Compositional strategies and style analysis

3/21 NO CLASS
3/24 Revisit Concept-Design-Practice-Analysis; Jan LaRue – SHMRG (T)
LISTENING: Tracks 16 on Spotify; Morton Subotnik track on Brightspace
READING:
ASSIGNMENT:
VIDEO:

• Week 9: FM Synthesis
3/28 Other synthesis methods; FM, Wavetable, Physical Modeling, Sampling, Granular
3/31 Theory and development of FM Synthesis; Looking at a basic 2 operator FM (Logic EFM synth)
LISTENING: Tracks 17 on Spotify; Jerry Goldsmith track on Brightspace
READING:
ASSIGNMENT:
VIDEO:

• Week 10: Deeper MIDI tools and techniques

4/4 More with FM synthesis - Dexed; patch creation
4/7 NO CLASS
LISTENING: Tracks 18 & 19 on Spotify
READING:
ASSIGNMENT:
VIDEO:

• Week 11: Effects routing (send/return/auxiliary channels)

4/11Using midi control change parameters; using control surfaces/control parameters on hardware
4/12 Logic MIDI effects – arpeggiator, randomizer
4/14 Adding more tools – compression, flange, phase Dynamic and Temporal Processing
LISTENING: Tracks 20&21 on Spotify
READING:
ASSIGNMENT:
VIDEO:

• Week 12: Automation; using with synthesizers, effects and the DAW
4/18 Deeper with routing and sidechaining
4/21 How automation works; using it with volume and pan
LISTENING: Tracks 22&23 on Spotify
READING:
ASSIGNMENT:

Professor Lukomski — MUS 350 — Computer and Electronic Music January 24, 2023
VIDEO:

• Week 13: Mixing and Spatialization

4/25 Listening for sounds, listening for techniques
4/28 Tools and Strategies using automation
LISTENING: Tracks 24&25 on Spotify
READING:
ASSIGNMENT:
VIDEO:

• Week 14: Finishing and Finessing a Mix (Sheen); present work in progress to class
5/2 Spatialization using effects and panning – Multi channel systems
5/5 Using Compression, EQ to put a final sheen on the mix

• Week 15: “WE DO NOT MASTER OUR OWN WORK” What mastering is and isn’t; present work in progress to class
5/9 New trends and technology; last questions regarding final projects.

• FINAL PROJECT: 5 minute piece due Friday December 16 by 5PM

Professor Lukomski — MUS 350 — Computer and Electronic Music January 24, 2023