Page  00000001 Music, Media and Technology at McGill University: Studio Report Bruce Pennycook May 1997 Faculty of Music, McGill University, Montreal, Canada Abstract The Faculty of Music, McGill University is Canada's leading center for undergraduate and graduate training in music performance, composition and music technology. This report will outline the history, programs and research activities of the music technology areas within the Faculty: The Electronic Music Studio, McGill Recording Studios and the Computer Applications in Music labs. 1 Introduction Founded in 1964 by composer, Istvan Anhalt, the EMS was formed with a collection of 'Tantastical electronic instruments" built by the legendary inventor, Hugh Lecaine. Since then, the Faculty of Music has moved several times and the EMS, which continues to flourish under the direction of alcides lanza, has been joined by The McGill Sound Recording Studios (1979 - ) under the Direction of Wieslaw Woszczyk and the Computer Applications in Music Laboratories (1987 - ) under the direction of the author. This report will outline some of the historical highlights then focus on the current programs of study and resources within the Music, Media and Technology area. The presentation will be illustrated with images of the primary work spaces and with some short excerpts of music composed and/or recorded at McGill. 2 Background In December, 1990, the McGill Electronic Music Studio celebrated its 25th Anniversary with a major festival of recent and historic works produced in the EMS. In addition to the five concerts were presentations by many of the key figures in the history of the EMS. An authoritative 25th Anniversary booklet was produced [1] which contains historical and anecdotal information, studio equipment configurations, lists of prize winning works, a chronology of visiting composers, discography and bibliography. While this text is now seven years old, it serves as an important record of the principal activities of the McGill EMS. In conjunction with the EMS, a composer/performer collective called GEMS (Group of the Electronic Music Studio) was formed in 1983 by alcides lanza and several of the composition students. GEMS has flourished to become the primary vehicle for electroacoustic music performance at McGill. Under the artistic direction of lanza and Pennycook, two concerts per year are given in Pollack Hall and at least two other concerts for tape music from other centers around the world are diffused in other venues on campus and around Montreal. Another series, Music of the Americas, produced by lanza and actress/singer Meg Sheppard offers concerts of acoustic and electroacoustic music from all regions of North, Central and South America. The McGill Recording Studios were formed by Dean Paul Pedersen and Prof. Wieslaw Woszczyk in 1979 with the building of a major recording studio adjacent to Pollack Hall. This facility, now called Studio A, offers graduate students in sound recording access to both controlled studio recording spaces and a 700-seat concert hall. The recording program has grown steadily and now includes several recording, editing and research studios serving the M.Mus. and Ph.D. students. The M.Mus. in Sound Recording has been very successful with many graduates now holding key industry and teaching positions in Canada and the US. McGill Records exists to provide recording opportunities for the Faculty of Music normally unavailable through commercial labels, to demonstrate the musical versatility of the Faculty of Music, and to provide a venue for the program in sound recording. McGill Records has won, among other prizes, a Juno Award, Grand Prix du Disque, Downbeat Award, and, from the American Musicological Society, the Noah Greenberg Award. To date, it has produced and distributed worldwide 45 titles; 14 on compact discs, 3 on cassette and the remainder on vinyl. These are all original recordings made for the label with reputable Canadian and foreign artists, including a live recording of McGill Symphony Orchestra from Carnegie Hall. In 1987, Bruce Pennycook joined the Faculty of Music to develop new degree programs in Computer Applications in Music. Starting with very modest resources, this program has grown to encompass both undergraduate and graduate degrees and a large network of research computer facilities. The primary focus of the Computer Applications programs is research and development and these activities serve as a complement to the professional training programs in Sound Recording and to the electroacoustic composition activities. 3 Pedagogical Strategy It is our belief that composers, especially at the graduate level, must develop fully skills in instmmental composition. Hence, McGill does not

Page  00000002 offer degies in electimcoustic music as such. While all undergauate composes must complete at least two, one-term couses in electiacoustic music composition, graduate composers may elect to include electacoustic elements in their workand may take seminas in interactive composition, sound synthesis and signal processing, algorithmic composition, etc. They are also fiee to use the EMS and other computing resources as needed for their works and to undertake recoing projects in conjunction with graduate students in sound recoing. This appah has resulted in numers prize-winning electmacoustic and mixed acoustic/electiacoustic works over the past decade and has encouraged our composition students to be actively engaging in the vibrant Montreal electacoustic music scene. The graduate pogrms in sound recoring focus on the recoring and reproduction of classical music and acousticjazz. For this eason, each and every graduate student in the MMus. and PhD. must hold a Bachelor of Music or the equivalent Prof. Wieslaw Woszczyk believes that the European tonmester tradition, which requinrs equally strong musical and technical trining for all students in the program, esults in graduates fiom our program being filly trained for careers in the classical music recording industry. The McGill program is one of about twelve master's level degrees in North America but the only one to focus on classical music. An essential aspect of the program is providing students with many hours of recoding time on professional quality equipment To that end, only five students are admitted per yearinto the firstyear of the MMus. program. Like the sound recoding degrees, the Computer Applications in Music degree programs require that all students complete rigcous training in music, especially music theory and analysis in conjunction with computer science, acoustics, electuacoustics and history of electronic music. It is our intention that graduates fiom the undergraduate pograms be prepared to undetake graduate studies in music technology or enter the music technology industry diectly. While students holding undergraduate degrees in Computer Science or Electical Engineering may be admitted to the graduate pgrams, they must have completed a minimum of university-level music training and, with few exceptions a required to augment their training in music theory and analysis and electrnic music history. The pedagogical strategy of all these programs has emerged iom the implementation of advanced training in music technology within a music institution such as the Faculty of Music at McGill University which has established a national and international reputation as a leading center for training in music perfonmnce, and composition, and research in music theory, musicology, and music education The continued success of our graduates suggests that this approach has merit 4 Degree Programs Undergraduate degiees in composition and in Computer Applications in Music serve as the pparatory stage forthe graduate programs. Couses in electmacoustic music are embedded in the undergraduate composition honours and majors degrees. Students may elect to take additional courses in the music technology area, but no specialized degee ogram exists for thecomposers. B.Mus. Honours in ComputerApplications (4years) The Honurs in Computer Applications in Music serves as the Rpaatory sheam for graduate studies in Sound Recoing and in Computer Applications. The undergraduate program is stutured as follows (fordetails see - Performance major insment + ensembles (2years) Musicianship a auand keyboard skills, dictation (3 years) Music History general surveys plus upper level including History of Electmnic Music Music heory music theoy hounous steam including intensive 19th and 20th C analysis ComputerScience five, one-term courses (Comp. Scienceminor) Science Acoustics, Musical Acoustics Electmnics, Electmacoustics ComputerMusic four, one-term courses including music algorithms, multi-media, advanced music programming Recoding elecmacoustic music techniques, intrduction to soundiecoding Electives psychology, cognitive science, physics orhestrtion, electronic music composition Students who elect the sound i.coding pe-iequisite package within this degree may apply to the MMus in Sound Recoing. Master ofMusic (Sound Recording) This is two year, non-thesis masters degree designed to provide indepth theoretical and practical training in all aspects of recording and reproduction of music, especially classical music and acoustic jazz. For details on the prerequisite courses and the course descriptions see - Year I Sound Recording Theory and Practice I (10 credits) Analysis of Recordings (6 credits) Technical Ear Training (4 credits) Digital/Analog Audio Editing (3 credits) Advanced Digital Editing Post-Production (3 credits) Electronic & Electroacoustic Measurements (3 credits) Year II Sound Recording Theory and Practice 1 (10 credits) Seminar in Media Technology (6 credits) Special Topics: Classical Music Recording (3 credits) Audio for Video Post-Production (6 credits) Courses are taught by W. Woszczyk and industry specialists including: George Massenburg, (President and Owner, GML Inc.), Steven Epstein, (Senior Executive Producer, Sony Classical, New York); Takeo Yamamoto, B.Eng., D.Eng. (Tokyo); F.A.E.S; John Klepko, B.F.A. (Concordia), M.Mus. (McGill); Peter Cook, Chief Music Editor, CBC Records, Toronto; Tony DuBoyce, P.Eng. (Electrt.), B.E.E. (Concordia); M.A.E.S., A.S.M.P.T.E.; Director, CBC Engineering, Shelley Craig, M.Mus. (McGill), Rerecording mixer, National Film Board of Canada and Ren6 Quesnel, M.Mus (McGill).

Page  00000003 M.A. ComputerApplications in Music In contrast to the non-thesis M.Mus., the M.A. is primarily a research degree. Students must take five seminars including sound synthesis and signal processing, computer music seminar and a one-term independent research project before beginning their thesis. Topics offered under the computer music seminar have included Music and Audio on the Internet, Advanced Audio Signal Processing, Music and AI, Music Perception and Cognition, and real-time and Interactive Composition. Over the past few years, guest lecturers to program have included: Cort Lippe, Robert Rowe, Roberto Morales, Heinrich Taube, Dexter Morrill, and Jean Pich6. For the academic year 1997/98, Zack Settel will be teaching both graduate and undergraduate courses. A collection of graduate research projects has been assembled on our www site: researchHome.html. Ph.D. in Music, Media and Technology The Faculty of Music offers a general Ph.D. in Music under which candidates holding graduate degrees in sound recording or computer applications in music may undertake advanced research in a variety of topics. Current Ph.D. research projects include the development of a computer-based technical ear training system by Ren6 Quesnel, multi-channel and surround sound by John Klepko, machine recognition of musical signals by Tang-Chun Li, multichannel auditory display by Mark Ballora. These projects complement the primary research of Pennycook and Woszczyk which focus on machine recognition of music and multi-channel audio respectively. Of particular interest was a special graduate seminar and industry workshop (Jan. 1997) by Takeo Yamamoto, retired senior researcher for Pioneer who presented an intensive workshop on Digital Video Disk technologies. The Faculty of Music has also been pleased to host post-doctoral research including: Richard Pamcutt, Ph.D. (Music Perception and Cognition), Eric Incerti, Ph.D. (Physical Modeling), Francois Rose, Ph.D. (Spectral Analysis and Composition). 5 Studios and Labs The following are the primary studios and labs. Other facilities for introductory instruction may be seen at the web site. STUDIO A McGill Recording Studios Studio A is the main studio used by the graduate students in the Master of Music in Sound Recording. Console: Sony MXP-3000 36 mic/line inputs, connected to either Studio A or Pollack Concert Hall, GML Flying Fader Automation, GML 4-channel Transformerless External Microphone Pre-Amplifier Main Monitors: L&R: State Of The Art CF 2000 custom-made 4 -way speakers (double 12" woofers), Center: State Of The Art CF 750 3-way speaker, Surrounds (4): Boston Acoustics A60 2-way speakers Near Field Monitors: Genelec Model 1031A self powered speakers, Yamaha NS-10 speakers (Amplifier: Bryston) Tape Recorders: Sony 24-track DASH Recorder, Tascam DA-30 DAT Recorder Pioneer D-9601 96kHz High Sampling DAT Recorder, Sony PCM-800 8-track Digital Audio Recorder Processing: Lexicon 480 Digital Effects System, Lexicon LXP-1 Digital Reverb (2), Lexicon LXP-5 Digital Reverb (with MRC), TC Electronics M-5000 Digital Audio Mainframe (2), Alesis 3630 Dual Channel Compressor/Limiter with Gate, Focusrite Red 3 Dual Compressor/Limiter, GML Dual Channel Dynamic Gain Control, Dawmer 1960 Vacuum Tube Compressor/PreAmplifier, Allison Research Kepex II Compressor/Gate (8), Allison Research Gain Brain II Compressor/Gate (8), Deltalab Echotron Digital Delay Loop, Deltalab Effectron II Digital Delay Microphones: AKG C12VR, AKG C422, AKG C414, AKG D12, AKG D112, Beyerdynamic M-130 (2) Bruel & Kajer 4003 (2) Bruel & Kajer 4004 (2), Bruel & Kajer 4006 (2), Bruel & Kajer 4007 (2), Bruel & Kajer 4011 (2), Neumann U87 (4), Neumann KM83/84 (2), Sennheiser MKH-30 (2), Sennheiser MKH-40 (1), Senneheiser MKH-50 (2), Sennheiser MD-421-U (3), Sennheiser MD-441-U (2), Shure SM-57 (3) Other Hardware: Dolby Surround Encoder, Dolby Pro Logic Decoder, Sony SLVR1000 S-VHS recorder, Sony MDP-600 CD/Laserdisc Player Sony 51" Trinitron Television Recording Facility: Both the studio facility and Pollack Concert Hall are directly connected to the Studio A control room Main Studio Recording Room: 15.5 ft. x 25 ft. acoustically insulated room, large exterior windows Yamaha grand piano Studio Isolation Booth 10 ft. x 11.5 ft. acoustically insulated room Pollack Concert Hall 600-seat concert hall used for many classical and jazz concerts throughout the year Large concert stage with moveable acoustic panels, Steinway grand piano, 24 Microphone inputs along edges of stage, 4 microphone inputs at rear of concert hall, 4 microphone inputs on catwalk, Camera feed to Studio A control room. Redpath Studio - McGill Recording Studios Redpath Studio is primarily used for discrete multi-channel surround listening and research. It is also used for recording concerts and occasional recording sessions in the 300-seat Redpath Concert Hall situated above it. Control Room Console: Sony MXP-3000 Sony Automation System

Page  00000004 Monitors: Paradigm 2-way speakers (5), B&W 6-channel power amplifier Tape Recorders: Tascam DA-30 DAT Recorder, Tascam DA-38 8-track Digital Audio Recorder Recording Facility - Redpath Hall 300-seat concert hall,Wood floors and walls, with high ceiling and balcony, Authentic French Classical Organ, Steinway Grand Piano STUDIO D - McGill Recording Studios Studio D is the editing studio used by students in the Master's program. It is also used to teach the Digital/Analog Editing and Advanced Digital Editing courses. Macintosh Quadra 900, Sonic Solutions, Dyaxis system, APS CD Recorder, APS 1.2 gigabyte hard drives (2), Sony BVU-800 U-matic videocassette recorder, Sony PCM 1610 Digital Audio Processor, Sony DAE-3000 Digital Audio Editor, Sony PCM7030 Digital Audio Recorder, Yamaha DA Converter, Genelec Model 1030A Self-Powered Monitors EMS Facilities Composer Studio This is the main composition facility for undergraduates, graduates and visiting composers. It offers a mix of computer music and traditional tape-based compositional resources. Soundcraft Delta (32 inputs) Console, Otari 2track, 8track2, Tascam DA-30 DAT, Macintosh PowerPC, Audio Media 11, Sound Designer, Deck-II, Tannoy DM8 Monitors (near); 4 JBL 4425, Bryston 2B power amps, Kurzwiel K2000, Akai S-1000, Yamaha TX802 sound sources, Lexicon, Yamaha, Peavey, Aphex, Digitech signal processors Graduate Studio This studio is used for graduate seminars and research in computer music, audio signal processing, and music and audio on the internet. Mackie 1604, Tannoy DM8, Bryston B2, Alesis Adat, Tascam DA30I, Digitech TSR24, Roland A-80 Controller, PowerTower 604e/200; SGI Indy R4400SC, NeXT Cube. A full complement of commercial and public domain software is available from the network servers for all types of computers. CDROM Studio This is the main multi-media studio for graduate students in Computer Applications. It is used for intemrnet-audio projects, CD preparation and recording and web development as well as providing a full complement of commercial and public-domain software resources for course work, composition and computer music research. Macintosh 8500, PowerPC, Panasonic 3700 DAT, Tannoy DM8 Monitors, ScanJetlI, APS CD-Recorder, JVC S-VHS VCR. Undergraduate Computer Lab This is a "public access lab" which is used to teach Personal Computer Applications in Music, Computer Programming for Musicians (MAX, etc.) and Director courses. It provides additional facilities to those in the Marvin Duchow Music Library for general computer use. 8 Macintosh 575's, 2 Macintosh 7200 PowerPC's, 10 Proteus MPS keyboards, 1OBaseT connectivity to campus backbone on all systems. Graduate Research Computers 2 SGI Indy R4600, 4 NextStations, P166 Win95 system, 486DX66/Win95 system, Macintosh 8100 with RasterOps Digital Video system 6 Research Projects (1994-1997) McGill Faculty and graduate students have been involved in a series of research projects over the past five years which complement the resources and talents at McGill. These include: Optical Music Recognition (I. Fujinaga, B. Pennycook, B. Alphonce) SSHRCC. Machine Recognition of Improvised Jazz (B. Pennycook, D. Stammen) SSHRCC. The Music Library of the Future Project (B. Pennycook, C. Leive, K. Dawkins, S. Maluf) CANARIE, Inc. The Merzscape Auditory Display System (B. Pennycook, K. Dawkins, E. Breder) Center for Information Technology Innovation Audio and Television Medium. (W. Woszcyk) SSHRCC An Investigation of Perceptual Audio Coding Systems (W. Woszczyk, Doug McKinney) Communications Research Center Auditory Design in Sound Recording (W. Woszczyk) SSHRCC Multichannel Audio Recording Techniques (W. Woszczyk) Dolby Laboratories Technical Ear Training (W. Woszczyk, R. Quesnel) Bang & Olufsen References [1] Lanza, A. and Pennycook B. (Ed's). 25th Anniversary Electronic Music Festival. 1990. Faculty of Music, McGill University.