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Page 31 ï~~COMPUTER MUSIC STUDIOS AT MICHIGAN STATE UNIVERSITY Mark Sullivan Michigan State University, Computer Music Studios 305 MPB, School of Music, E. Lansing, MI, U.S.A. 48824-1043 email@example.com Abstract: Michigan State University in E. Lansing, site of the first International Computer Music Conference in 1974, established the current suite of computer music studios within the School of Music in 1989. The talk provides an overview of facilities, instruction, and creative work and research carried out since 1989, and includes musical excerpts of compositions created and sound examples pertaining to research conducted. Facilities The computer music facilities at Michigan State University consist of three studios: all three studios support creative work, research, and instruction. One is an open access studio (i.e. limited reservation for classes), available to all students, staff, and faculty in the university, that can accommodate ten users simultaneously. It has Macintosh, IBM, Next, and Sun hardware, MIDI interfaces, digital synthesizers and samplers (Roland, Yamaha, Casio, Ensoniq), digital effects processors, cassette and DAT recording devices (and one digital input-output device for the Next), printers, and ethernet network connections. Various music software packages and programming languages.support a range of activities: music notation, MIDI sequencing and recording, timbre construction and editing, sample transformation and editing, algorithmic composition and digital synthesis. Software is also available that supports instruction in set theory, ear training, and music fundamentals, in addition to word-processing and network software. The second studio is a limited access studio (i.e. reserved blocks of time on a weekly basis), available to advanced students and to faculty, that accommodates a single user at a time. It has Macintosh hardware, with Digidesign direct-to-disk hardware for editing and recording, a MIDI interface and routers, digital synthesizers (Roland, Yamaha, Casio, Ensoniq, and Kurzweil), a Yamaha Disklavier, digital effects processors, digital mixers, and cassette, DAT, and analog two, four, and eight track decks, as well as a quadraphonic sound system. The software mirrors that of the first studio in function, except that no software support for instruction in music theory is provided, and SoundTools software is available for digital editing. The third studio is a limited access studio, available to advanced students and to faculty, that also accommodates a single user at a time. It has Next hardware, a digital input-output device, mixer, DAT and cassette recording devices, as well as a stereo sound system. The software mirrors that of the first studio, but has a wider range of software for analysis and synthesis, as well as a range of programs developed for specific compositional purposes (written in C or C++ for Unix platforms). Instruction Courses offered include one that covers the fundamentals of psychoacoustics, synthesis, and MIDI, the characteristics of various digital synthesizers and samplers, and software for notation, for sequencing and recording, and for creating and transforming timbres and samples (undergraduate level: Introduction to Computer Music; graduate level: Composition with Computers), another that covers the history and analysis of electro-acoustic music from the fifties to the present (Electronic and Computer Music Literature), another course that provides, on a recurring basis, for directed study in composition or research on sound (undergraduate: Independent Projects in Computer Music; graduate: Advanced Computer Music Projects), and finally, a course that explores conceptual and technical aspects of direct digital synthesis and ICMC PROCEEDINGS 1995 3 31
Page 32 ï~~of algorithmic and stochastic approaches to composition (Advanced Computer Music Projects: Programming and Composing). There is no separate degree program in computer music. Undergraduate and graduate studetns receive degrees within the School of Music, the Department of Computer Science, and so forth, and the work on computer music is taken as their area of specialization. Complementary courses that draw on computer technology are offered in the Music Theory area (Computer Assisted Instruction and Multimedia Applications in Music Theory; Set Theory, Atonality, and Serialism) and in the Music Education area. Creative Activity and Research Various research projects have been completed, or are in progress (involving the development of computer programs), some of them related to specific compositions, others more general in nature, and some using existing computer applications: a software application for constructing timbre using natural language descriptors (Ethington); an object-oriented library for creating MIDI applications using the Roland MPU401 (Sepsi); the development of software tools for use in granular synthesis (Sullivan, Punch,, Schalkhauser, Hoepfinger); software tools that use paralinguistic and prosodic features of language as models in the creation of musical events (Sarah Miller, in progress); the use of non-linear dynamic systems, in particular the logistics difference equation, in granular synthesis (Erik Larson, in progress); the use of hyperbolic functions in generating rhythmic branching and the generation of performance data specifying ensemble coordination for automated performance media (Harold Fortuin); the recursive use of proportions in the creation of temporal relationships, timbre, and form (Mark Sullivan, Patrick Callow, in progress); the use of continuous controller data (within sequencing software) as the primary means of specification of change and variety in the composition (Overton, Continu Ousdata; Herrema, Studies on a Square Wave); the use of graphics as a source for sound generation, (Patrick Callow, created with HyperUpic and tiff files). Selected List of Compositions Created (since 1989) Patrick Callow Complements, Tracked Surfaces, Five Pieces for Automated Piano Dennis Diment The Morals of Genealogy Harold Fortuin Untitled No. 3: Transcendental Etude for Computer-controlled Keyboard, ZenWrap,, L'homme concrete, Branchings Ronald Herrema Studies on a Square Wave Erik Larson Extractions, The Application, "...there Will your Heart...", Attractions Sarah Miller Dialogues and Interruptions I, Dialogues and Interruptions II (in progress) Kenneth Overton Continu Ousdat a, Four Intrusive Bage-types, Drumstrand 1&2 Charles Ruggiero Fractured Mambos Herbert Suarez thouve Mark Sullivan knots and twists, streams, incompatibilities References: Ethington, Russ and Punch, Bill, "SeaWave: A System for Musical Timbre Description," Computer Music Journal, Volume 18, Number 1, Spring 1994, pp. 30-39 Sepsi, Greg, and Punch, Bill, "The Design of a C++ Class Library for MIDI Applications," ICMC Proceedings, Montreal, 1991, pp.459-462 Punch, William and Sullivan, Mark and Koehler, Robert, "An Algorithmic Approach to Composition based on Dynamic Hierarchical Assembly, ICMC Proceedings, Montreal, 1991, pp. 45-52 Schalkhauser, Stephen J., "Gsynth - Granular Synthesis Music Composition and Effects Processing," Michigan State University, Masters Project Document, Department of Computer Science,Aug. 15th, 1994  Hoepfinger, Matt, "Gsynth - Granular Synthesis Music Composition," Michigan State University, Masters Project Document, Department of Computer Science, Aug. 15th, 1994 32 IC MC PROCEEDINGS 1995