The following examples were discussed with respect to building simple graphical interfaces for your class pieces.

In addition to those discussed, I have included the patch to my recent guitar piece, "Roses Don't Need Perfume" including all sounds.  You should be able to simply open it and start advancing through events.

The only patch found below that is not mine is called "mondrian.pd" for which documentation can be found here:

https://puredata.info/Members/AlbertoZ/Mondrian

Below are patches and examples from class.

Here are the links I mentioned for Davidovsky.  This is mostly background and composer perspectives, rather informal compared with the texts we read last week but useful none the less.  I'm always drawn through Davidovsky to the whole problem of electronic music in the concert hall and in its aesthetic comparison to acoustic art music.

Eric Chaslow's view of Davidovsky and his music
Crumb on Music's "future" with referent to electronic music via Davidovsky

Sounds:

Davidovsky's Electronic Study #3 (for Varese)
Syncronisms #9 and #10 on "The Art of States"

And since it seems there is some interest in the goings on at NewMusicBox, here are two others to paruse:

A Recent Davidovsky Interview (with video)

If you come into the studio and the network drive is not on the desktop:

In the finder, go to the "Go" menu and select "Connect to server" (shortcut: command-K). 

The network drive address should be in the window that pops up as the default, so click "connect".

Likewise the username "student" and the password should be in the next window as the default, so, once again, click "connect".

The "Music 120" sphere icon should then appear on the desktop.

Please read/watch the following:

Copyright Wars and Higher Education (Cornell Event)

The Download Debate (Cornell Event)

Some Myths About Intellectual Property

Negative Land (many links)

Looking toward your mid-semester project and performance, begin direct work in the form of a "study/etude".  This can be an exploration of a technique or of a musical idea or concept.  It may well be that your musical idea is ahead of your technical capacity.  Please be sure to see me and discuss your intentions so I can help you find the necessary tools (perhaps beyond those we have looked at together).

1) Create a classical "tap delay" structure in PD.  All of the objects required for this patch can be found in the attached document, "delay_requirements.pd".  You may also wish to refer to the PD "Help" browser found in the help menu, especially "3.audio.exmaples/GO2.delay.loop.pd".  Please download the PD-extended application for your operating system from this site:

PD-extended installers

2) Read "Though the Sensory Looking Glass: The Aesthetic and Serial Foundations of Gesang der Jünglinge" in hard-copy in B27 in B27 discussing Stockhausen's "Gesang...".   It can also be found through JSTOR here:

JSTOR Reading

You may also wish to review the attached PDF by John Smalley, a more condensed and rather introductory essay.

Command Line SSH

Secure Shell Access

Command line access via a Unix terminal/shell is the most reliable, powerful method of accessing the Digital Music Studios.  With it users can login and use the functionality and processing power of the CDMS computers remotely.

To login, open a terminal shell (on Mac, Applications --> Terminal; on Windows use Cygwin; on Linux or other Unix just open a standard xterm).  Then at the command prompt type:

        ssh REMOTE_MACHINE_NAME

...where REMOTE_MACHINE_NAME is the name of the machine you wish to access, for example digital.music.cornell.edu.  If you use a different username on your local system than the one on the system you are logging into, you will also need to specify your remote username :

        ssh USERNAME@REMOTE_MACHINE_NAME

CEMC systems are named as follows:

        jack.music.cornell.edu (B27 Linux system)

        devel.music.cornell.edu (B27 Mac system)

        b25b.music.cornell.edu ("Film" studio, B25B)

        b25c.music.cornell.edu (Undergraduate Studio 1, B25C)

        b25d.music.cornell.edu (Undergraduate Studio 2, B25D)

On CEMC systems, convenient command shortcuts are also available using a standard syntax:

        sshjack (same as ssh jack.music.cornell.edu)

        sshdev (same as ssh devel.music.cornell.edu)

        sshdig (same as ssh digital.music.cornell.edu)

        sshb25b (same as ssh b25d.music.cornell.edu)

        sshb25c (same as ssh b25c.music.cornell.edu)

        sshb25d (same as ssh b25d.music.cornell.edu)

When logging in from the outside you will be prompted for your password.  Enter it and you will be logged in immediately.  Logins from within the studios are governed by secure authorized keys meaning your account will automatically be verified when a remote shell is requested and you will not have to type your password.  This will become important later on as we seek to run remote processes inline with local programs.

You may also wish to create password keys between systems, enabling passwordless movement among studio systems.  To set this up, type “cornellkeygen” and follow the directions entering no passphrase.

Secure Shell Copying

To copy files to and from local or remote computers, use the scp (secure copy) command.  The syntax is identical to ordinary copying with cp.

        scp FILE_TO_COPY [MORE_FILES_TO_COPY] DESTINATION

Unlike cp, the file to copy and/or their destination may be a remote computer.  The user must specify the remote machine name and directory as a prefix.  So for example, to copy a local file named myfile to my remote home directory ("/home/kevinernste") on digital.music.cornell.edu, I would type:

        scp myfile digital.music.cornell.edu:/home/kevinernste/

Note the colon ":" between the machine name and the directory in the destination argument.  This syntax should be followed carefully.

As with cp (and other Unix commands), all unix "wildcards" will work, so:

        scp *  digital.music.cornell.edu:/home/kevinernste/

...will copy all files in the current directory to the destination directory on b27.  To copy directories and subdirectories, just add "-r" (for “recursive), so:

        scp -r *  digital.music.cornell.edu:/home/kevinernste/

GUI SSH tools

If you wish, there are also several graphical SSH/SCP/SFTP clients available. Most limited to simple file copying, but some include terminal shell functions as well.  To peruse the list of clients available for your operating system of choice, please visit openssh.com and follow the links in the left-hand panel.

1.  WIth the recording techniques discussed so far, record and edit together your own soundfile library, a collection of individual sounds suitable.  You may use whatever sound making resources/instruments you have or can muster.  Edit and save these samples as short "notes" or individual sounds.  One can alway build phrases, loops, melodies, or other time-varying material from these smaller soundfiles.  Please  look toward creating 15-20 individual soundfiles.

2.  Using the samples you created in #1 in addition to samples from the  CEMC soundfile library (/snd/sflib) or other legal sources (freesound, for example), create a short "mix" or "study".  This little "piece" should be no longer than 30 seconds, 20 should suffice.  Be creative.  You may wish to use the pieces played and discussed in class as models.

Related resources:

Freesound

NOTE: The due date for this assignment coincides with the day of our Oral Test, watch the blog for details on individual time slots.  The skills necessary to doing this assignment are precisely those you will need to complete the test.  Therefore, the best/only way to study is to *do*.

1. Make a recording of the human voice using Audacity.  You may be as creative as you like with what is said, rapped, or read but the resulting sound file should illustrate your understanding of the principles of signal quality as discussed in class.  Work toward a fully, warm, sound exemplified by the classic "radio voice".  The resulting file should be approximately 15-20 seconds long. 

Please turn your finished assignment in on the network drive (linked on the Desktop in all studios).  I recommend the following file naming scheme assuming I am turning in a soundfile titled "Yokel Vocal":

120-assign1-kme32-yokel_vocal.wav

coursenumber-assignmentnumber-netid-title_of_track.wav

I would recommend that you get to know Audacity generally  by exploring its various tools (upper left), the optional views such as “Spectrum” found in each track's submenu, the “Preferences” dialog (note the device, sampling rate, and bit rate options), the “Effects” menu, and even the basic multi-track capabilities, including the “Quickmix” feature found in “Project --> Quickmix”.  You may wish to examine the following tutorials during your exploration:

Audacity Manual Tutorials