The dates given in the Week column are for the Tuesday of the week.

Reading, History, and Listening Responses are due by the beginning of the Tuesday class.

Also listed in this column are Max patches (the “Max Tips” links) you should download and look at before class. These are relevant to the exercises that you will do for the following week.

Exercises are due at your tutorial time and must be submitted to Canvas by Thursday midnight to receive credit.

Schedule

Week	Topic	Reading & Listening	Assignments
Week 1 (1/9)	Overview; scheduling; intro to Max messages; sequential and random selection from tables; MIDI note output; presets	Exercise 1 Max Tips	Start Exercise 1: Generative Music in Max.
Week 2 (1/16)	Intro to Auzzie; audio routing in series and parallel; controlling parameters from sliders	Elainie Lillios: Veiled Resonance, for soprano saxophone and live electroacoustics (2008) Exercise 2 Max Tips Auzzie Module Descriptions	DUE: Exercise 1 Start Exercise 2: Making Sound with Auzzie.
Week 3 (1/23)	Auzzie players and more effects; MIDI control of Auzzie parameters; encapsulation and abstractions	Nathaniel Haering: Medical Text p. 57 (2017) Exercise 3 Max Tips	DUE: Exercise 2 Start Exercise 3: MIDI Control of Auzzie.
Week 4 (1/30)	Max audio patching: sound file players, oscillators, detuning, and noise	Pamela Z: Quatre Couches, Badagada, Typewriter (1988, 2015, 2003) Week 4 Reading in Canvas Exercise 4 Max Tips	DUE: Exercise 3 Start Exercise 4: Basic Synthesis in Max.
Week 5 (2/6)	Sub-audio rate modulation; modulation synthesis (AM, RM, FM) History 3 (computer music pioneers)	Reading & Listening: History 3 in Canvas Exercise 5 Max Tips	DUE: Exercise 4 Start Exercise 5: Modulation Synthesis.
Week 6 (2/13)	Data-driven instrument concepts; applying continuous data to parameters; deriving triggers from continuous data; routing data	Jeffrey Stolet: ImPossible (2018) Exercise 6 Max Tips	DUE: Exercise 5 Start Exercise 6: Triggering and Controlling Sounds. Start Project 1: Data-driven Performance Piece.
Week 7 (2/20)	Data-driven instrument techniques, continued; interfacing with gamepads, Gametraks, phones, webcams, etc.	Carla Scaletti: SlipStick (2008) Project 1 Max Tips	DUE: Exercise 6 Work on Project 1. TEST 1: Modulation synthesis, simple Max coding, History 3 DUE Monday, 2/26, midnight
Week 8 (2/27)	Max delays, filters, and pitch shifters; automation	Shawn Wasabi: Marble Soda (2015)	Work on Project 1.
Week 9 (3/5)	More Max audio patching: envelopes and delays	Unsuk Chin: Double Bind?, for violin and electronics (2007) Exercise 7 Max Tips	DUE: Project 1 Start Exercise 7: Envelopes and Delays.
3/12	Spring Break
Week 10 (3/19)	Organizing a piece in Max: changing patch state using cues, separating cue data from sound engine, building a mixer	George Lewis: Not Alone, for cello and electronics (2015) Exercise 8 Max Tips	DUE: Exercise 7 Start Exercise 8: Cueing Patch State Changes.
Week 11 (3/26)	Granulation theory and practice;	Russell Pinkston: Lizamander (2004) Week 11 Reading in Canvas Exercise 9 Max Tips	DUE: Exercise 8 Start Exercise 9: Buffer Recording and Playing. Start Project 2: An Extended Composition
Week 12 (4/2)	FFT-based processing; standard and tracking phase vocoders; SPEAR	Paula Matthusen: sparrows in supermarkets, for recorder and electronics (2011) Week 12 Reading in Canvas Exercise 10 Max Tips	DUE: Exercise 9 Start Exercise 10: Phase Vocoding in Max and SPEAR. Work on Project 2.
Week 13 (4/9)	Introduction to RTcmix History 4 (early live electronic music)	Reading & Listening: History 4 in Canvas	DUE: Exercise 10 Start Exercise 11: Introduction to RTcmix. Work on Project 2.
Week 14 (4/16)	RTcmix (continued) Introduction to Jitter	Bryan Jacobs: Blocks and Birds (2018)	DUE: Exercise 11 Work on Project 2. TEST 2: Granulation, FFT, phase vocoder, History 4 DUE Monday, 4/22, midnight
Week 15 (4/23)	Jitter (continued)	Steevio: Primes (2016)	Complete draft of Project 2.
Exam Week (4/30)	Project presentations: Tuesday, 4/30, 11:30 AM - 2:30 PM		Project 2 (be ready to present on Tuesday)