Studios accessible to students of Music 1421

A reminder for studio signups:

Studios available to students of Music 1421 include Studio B (B25B), Studio C (B25C), and Studio D (B25D). Please be sure to choose one of these three from the drop-down menu at the top of the page when reserving a time.

If you sign up for time slots in Studio A (B27) you will be unable to access it as it is on a separate key and security.

Studio access with your ID should be available today at the latest.

Prof. Ernste

Music 1101, a class alternative

To all students looking to join a music course this semester but who were unable to get into Music 1421–particularly Frenshman and Sophmores who might be thinking of a major or minor in music–I have a recommendation: 1101 Elements of Music, taught by Prof. Andrew Hicks.

As a past a future guest of the course, I can highly recommend it for its nicely-intermingled historical and hands-on/practical approach. A syllabus for the semester is attached for your perusal. Feel free to ask me or contact Prof. Hicks if you think the course might be right for you.

Music 1101 Syllabus

Dreams

Thank you all for telling this story with us! It was a lot of fun! Here’s an image of the story flowchart (small green numbers are the poll numbers). The darker in color a box is, the darker that path was. If you want a higher quality version, you can access it at the link here:

https://miro.com/app/board/o9J_la2iOR8=/

Music 1421 Final Performance, concert order

Our performance will be tomorrow evening, December 19th, at 5pm. Each of the three “sets” below should take around an hour each (roughly 5pm, 6pm, 7pm start times).

Please be prepared well in advance of your performance … I recommend arriving with everything set to go on your end, ready to stream to our Zoom meeting. I will ask each of you to verbally introduce your piece briefly.

A Zoom link will appear in the Canvas calendar along with this same concert order info.

Should you have any concerns during the concert or in advance of your performance, you can contact us privately in the Chat window. The TA’s may interact with the you in the Chat to alert when your performance is upcoming/next, but feel free to follow along in the order below.

If you did not yet respond to the Google form sent by Prof. Ernste or do not see your name listed below, please do complete the form and/or contact Prof. Ernste and your TA immediately to be slotted in.

CONCERT ORDER

Aman Gupta
Isaac Murphy
Janie Walter
Kaushik Ravikumar
Zachary Vero
Brian Shi
Melissa Gao
Brett O’Connor
Thomas Bastis
Lazarus Ziozis
Carter Gran & Jack Samett

INTERMISSION 1

Michael Xing
Chris O’Brian
Michael Zhang
Jacob Pelster
Eshaan Jain
Will Smith
Grace Wu
Luc Wetherbee
Irwin Chantre
Kyle Betts
Lucas Petrello

INTERMISSION 2

Jack Weber
Jack Pilon
Nathan Huang
Jocelyn Gilbert
Ben Goldberg
Sai Mallipedhi
Euna Park & Joshua Kaplan
Arsen Omurzakov
Isaac Singer
Brandon Feng
Jayansh Bhartiya

Class performance checklist

In preparation for our final performance, here is a checklist of technical issues to double-check.

1. You are using your Cornell login in Zoom. The easiest way to verify is to visit https://cornell.zoom.com and login, joining the meeting after. You may also need to download the latest Cornell version from the same place.

2. Your Zoom preferences are set to enable stereo audio. See here for details.

3. Your Zoom preferences are set to Show in-meeting option to “Enable Original Sound” from microphone. This will disable Zoom’s noise and echo cancellation. See here for details. Once turned on in preferences, a button will appear in the Zoom window (upper left) to allow you to “Turn on original sound” for your audio device.

4. You are using a hard-wired ethernet connection wherever physically possible! Bandwidth will affect many aspects of your performance and so a hard-wired connection to your home router is ideal.

5. Use good lighting where available! Extra lamps, phone LEDs, and other sources will dramatically improve your camera fidelity.

6. You have reviewed your sound settings for your particular situation by reading this post.

To whomever I was in a zoom call with when the class ended

🙁 I still want to hear your songs.

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 (https://obsproject.com/), 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:

https://obsproject.com/

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).

Repetition and Live looping

Robert Fripp’s “Frippertronics” setup using two tape machines developed and used by him and Brian Eno on No Pussyfooting:

Terry Riley on his own origins in using live looping:

Terry Riley’s In C: please read the following page, which includes the interactive GUI’s I used in Lecture today:

Terry Riley’s “In C”: A Journey Through a Musical Possibility Space

Original recording from 1968:

Africa Express’s In C Mali:

In Bb, an online project following onto In C:

https://www.inbflat.net/

And to remind you that repetition, even literal and continuous repetition of the same materials, is nothing new … this famous aria from Henry Purcell’s 1689 Dido and Aeneas, the piece “Dido’s Lament”, uses a repeating ground bass (passacaglia), here to create as sense of growing intensity.

DMA Recital: Corey Keating

Bio:

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.

Program:

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:

LINK (WAV)

LINK (FLAC)

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

 

 

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