New tutorials going online

In advance of our coming final performances, I will be uploading a series of tutorial videos for your review, illustrating several potential methods for streaming your end-of-semester performances, from the simplest (sharing the Desktop or audio only in Zoom) to more complex arrangements using tools like OBS (, mentioned previously.

See this page for more details.

For tomorrow’s lab on OBS, it might be useful to review this first tutorial below, illustrating recording of video, Desktop, and audio sources in OBS. This tutorial will be included in an upcoming FAQ page, including the other live streaming tutorials I mentioned.

Collaboration on final project

Is anyone interested in collaborating on the final project? I’m interested in making something that takes advantage of the online / streaming nature of the performance, perhaps letting everyone contribute live or trigger clips or something. (Maybe something inspired by the type of performance of In C?)

Puredata and Max/MSP downloads

UPDATE: Here is the “pitch tracking” Pd patch I made in lecture using [fiddle~].

Puredata (PD) is free, open sources, and available in several flavors:

  1. Puredata (Pd) “vanilla”, untainted program from Miller S. Puckette
  2. Purr-data/PD-L2Ork, a Pd distribution for Virginia Tech’s Linux Laptop Orchestra (L2Ork)

There are dozens of tutorials and help systems available. I suggest this video series by Dr. Rafael Hernandez, for starters, as well as Pd’s own built-in help system. A useful forum on Pd, including examples provided by users can be found here.

A deeper history of Pd from Miller Puckette himself, including its origins in the earliest computer music languages can be read here.

Max/MSP is commercial software, similar to Pd having the same original source code. Max is available as a 30-day trial download on the Cycling74 website. Cycling74 was purchased by Abelton in 2017.

As with Pd, there are a multitude of tutorials available, including a help system built into the software itself. Some example projects using Max can be perused here.

OBS Download and basic information

OBS Project and download:

More information and (non-crashing!) demonstrations to follow. I recommend perusing YouTube and the recent blossoming of live streaming techniques on YouTube, Vimeo, Twitch (most directly used for gaming but also music).

DMA Recital: Corey Keating


Corey Keating is a DMA candidate at Cornell University.  He holds degrees in music from San Jose State University, Bowling Green State University in Ohio, and Cornell University. Mr. Keating has taught courses in music theory, music technology, composition, and aural skills. His composition instructors include Chris Dietz, Kevin Ernste, Pablo Furman, Mikel Kuehn, Roberto Sierra, Marilyn Shrude, and Steve Stucky.


Re-Fixed Media

A collection of compositions and generative musical works from my time here in Ithaca, remixed and woven together with alliterative aspects, musical memories, and impromptu interludes.

Listen Here:



All music by Corey Keating; special performances by Cole Tutino (cello), Brendan Jacklin (cello), and Ryan MacEvoy McCollough (piano).



Loops for our discussion

Following on to our conversations about samplers, beats, and beat slicing, we’ll be exploring loops more fully this week. Here are some loops to play with in class.


Ernste music

Here is some further listening from today’s class.

My band from college was called “Milk of Amnesia”. We performed primarily in the MidWest (Chicago, Minneapolis, Madison, Milwaukee) where all three of the band members went to college together (UW-Madison). The song excerpt I shared in class today from “Kamikaze Airplane” can be heard again here: Kamikaze Airplane.

My piece for solo guitar and electronics, Roses Don’t Need Perfume, uses sounds of the guitar as an electronic backdrop for a live solo guitar part. All electronic sounds are “acoustic”, i.e. they are derived from guitar. You can hear the recording from the commercial CD, Draw the Strings Tight–which I engineered myself here in Barnes Hall–on my website. A score is there also, or linked here.

The piece is long (15 minutes), so I encourage you to listen to the first 3 minutes (Movement #1, first page of the score) only.

Here, too, since I mentioned this method in class previously, is an image from that recording showing the microphone placement…two near mics (12th fret, behind the sound hole) and a third large diaphragm condenser mic further away).

The second piece I played, called The Awful Grace, is based on a commemorative sculpture in Indianapolis, IN, where on the night of MLK’s assassination, Robert Kennedy announced the terrible news to a large crow, speaking from the back of a pickup truck. 

With that speech, Kennedy calmed his audience from rioting, channeling his own experience losing his brother, JFK, who was assassinated 5 years earlier in 1963. Partway through, he quotes Aeschylus … lines that would late appear on his own gravestone after his own sad assassination just months later.

“Even in our sleep, pain which cannot forget falls drop by drop upon the heart, until, in our own despair, against our will, comes wisdom through the awful grace of God.” – Aeschylus

My central ideal with this piece was to channel that mutual empathy, which seemed to me important to our current moment.

My piece is for viola, percussion, and unmanned piano. The piano is used as a resonator (speakers placed inside and under) as well as being played *inside* by the percussions (fingers, sticks, mallets, his ringed finger, eBows).

In the excerpt you will hear, the first part is made up of these “inside the piano” sounds. Then you’ll hear Robert Kennedy’s voice, from his April 4th 1968 recitation of the Aeschylus, resonated into the piano. The voice is circulated back to the piano repeatedly (feedback) to enhance the frequencies of the voice (those “partials” we’ve been talking about) as they make the piano strings ring sympathetically. To hear this effect yourself, find a piano, put down the pedal, and shout into it! Finally, in the last section, the percussionist uses the eBows to play the strings directly, creating a singing melody. The drone sound in the background is derived from MLK’s voice, from his last speech (“I’ve Been to the Mountaintop”), given the day before his death. It’s specifically derived from the word, “see” in the line:

“…only when it is dark enough, can you see the stars”.

My Project 1

Hey Everyone,

This is what I did for my project 1, looking forward to listening to whoever also posts there’s. If anyone has any comments/questions about my project, feel free to reach out to me. Always happy to chat with others and bounce ideas off each other.Beware of Dog.wav

P.S. As with most people’s tracks, mine sounds way better over headphones/earbuds rather than the regular cpu’s speakers, so keep that in mind.

Free Ableton Live Lite

Hi all,

It looks like Ableton Live Lite is free if you make a (free) account on Splice.


Assignment 3: Melissa Gao

I listened to and analyzed one of my favorite songs, Paris in the Rain. It’s about the euphoric feelings of being young, in love and spontaneous in a foreign city. It’s a chill, vibey pop song off Lauv’s debut album, which is about the progression of someone falling into, being in and falling out of a relationship. The song is the epitome of his slower, stripped-down, electro-pop style. Lauv is an up-and-coming indie artist and songwriter who you might recognize as the guy who sang “I Like Me Better”. I like his music because it’s somehow relaxed, hype and emotional at the same time. I would recommend his collab with blackbear, “if i were u”, “Make It Right” with BTS, and “Feelings” for further listening.

Lauv also released a short video explaining how he made Paris in the Rain. I think it’s interesting to hear an artist talk about their creative process and how the song came together.

Skip to toolbar