Professor Miller Puckette; 858-534-4823; msp@ucsd.edu; https://www.msp.ucsd.edu/
Office hours: CRCA (Building 408) Room 7, Tuesdays and Thursdays after class until 1PM.
Teaching Assistants: Kerry Hagan (khagan@ucsd.edu) and Tucker Dulin (bdulin@ucsd.edu).

This course is an introduction to the rich tradition of electronic "art music" from the year 1948 to the present. Reading assignments are from the course reader available from UCSD Soft Reserves (in the student center.) Listening materials are available through the Music Library's DARP system.

Lectures are in Mandeville (0326) room B202, Tuesdays and Thursdays 11:00-12:20. This is in the Mandeville basement, two floors down from the main floor; stairs and elevator are in a passageway through the center of the building. Additional discussion sessions are led by the teaching assistants. There are two in-class tests, a final exam, and three one-page writing assignments; more details about assignments will be given in class.
TOPICS:

Sept. 26; Oct. 1, 3. Music, sound, and modernism
Listening assignment:
Pierre Schaeffer, Etude aux chemins de Fer (1948; 2:50)
Iannis Xenakis, PH Concrète (1958; 2:42)
Charles Dodge, Any Resemblance is Purely Coincidental (1979; 7:56)
Jonathan Harvey, Mortuos Plango, Vivos Voco (1979; 9:00)
Trevor Wishart, Vox, no. 5 (1986; 6:02)
Mario Davidovsky, Synchronism #9 for violin and tape (1988; 8:46)
Heinrich Taube, Gloriette for John Cage (1994; 4:07)
Marc Ainger, Shatter (1998; 8:00)
Shahrokh Yadegari, The Tear (2000; 9:51)
Reading assignment (from the course reader):
1. Luigi Russolo, The Art of Noises (1913)

Oct. 8, 10. Musique Concrète
Listening assignment:
Pierre Schaeffer, Etude Pathétique (1948; 4:00)
Pierre Schaeffer and Pierre Henri, Bidule en Ut (1950; 1:51)
Pierre Schaeffer, Etude aux Sons Animés (1950/71; 4:11)
John Cage, Williams Mix (1952; 4:13)
Vladimir Ussachevsky, Sonic Contours (1952; 7:20)
Iannis Xenakis, Diamorphoses (1957; 6:53)
Luciano Berio, Thema (Ommagio a Joyce) (1958; 6:12)
Francois Bayle, L'oiseau-chanteur (1963; 1:19)
James Tenney, Collage #1 (1963; 3:22)
Reading assignment:
2. Paul Griffiths, "Introductions", from A Guide to Electronic Music. Thames and Hudson, 1979, pp. 7-16.

Oct. 15, 17, 22. Early electronic music
Listening assignment:
Edgard Varèse, Poème Eléctronique (1958; 7:56)
Karlheinz Stockhausen, Study II (1954; 3:01)
Karlheinz Stockhausen, Kontakte (1954; 34:37)
Luciano Berio, Momenti (1960; 7:10)
Reading assignment:
3. Barry Schraeder, Classical Studio Electronic Music. from Introduction to electro-acoustic music , Prentice-Hall, 1982, pp. 75-96.
4. Nouritza Matossian, "The Philips Pavilion", from Xenakis, Pro/Am Resources, Inc, 1986, pp. 109-118.
5. Karlheinz Stockhausen, "Four Criteria of Electronic Music", from Stockhausen on music, Kampmann, 1989, pp. 88-111.
Writing assignment #1 due Oct. 15.
First in-class test Oct. 22.

Oct. 24. Synthesizers
Listening assignment:
Milton Babbitt, Phonemena (4:12)
Morton Subotnick, The Wild Bull, part B (1968; 15:01)
Walter Carlos, Brandenburg Concerto, no. 3, third movement (1968; 4:42)
Laurie Spiegel, Appalachian Grove 1 (1974; 5:20)
Reading assignment:
6. Joel Chadabe, "Synthesizers". from Electric Sound, Prentice Hall, 1997, pp. 140-171.

Oct. 29, 31. Computer music
Listening assignment:
Charles Dodge, Speech Songs (1972; 7:01)
John Chowning, Phoné (1981; 12:33)
James Dashow, Whispers out of Time (1976; 11:17)
Iannis Xenakis, Mycenae-Alpha (1978; 9:37)
William Albright, Sphaera (1985; 12:44)
Bill Schottstaedt, Dinosaur Music (1986; 6:34)
Reading assignment:
7. F. Richard Moore, "Dreams of Computer Music---Then and Now," Computer Music Journal 20/1 (1996) pp. 25-41
8. Charles Dodge, "On Speech Songs ," from Max Mathews and John Pierce, eds., Current Directions in Computer Music Research, MIT press, 1989, pp. 9-17.

Nov. 5, 7. The IRCAM school
Listening assignment:
Jean-Claude Risset, Songes (1979; 9:05)
Jean-Baptiste Barriere, Chréode 1 (1983; 9:26)
Pierre Boulez, Dialogue de l'Ombre Double (1985; 17:42)
Philippe Manoury, La Partition du Ciel et de l'Enfer (extract) (1989; 39:39)
Kaija Saariaho. Noanoa (1991; 9:10)
Reading assignment:
9. Jean-Claude Risset, "Digital Techniques and Sound Structure in Music". from Curtis Roads, Ed., Composers and the Computer. William Kaufmann, 1985, pp. 112-138.
10. Trevor Wishart, "The making of Vox-5", Computer Music Journal 12/4 (1988), pp. 21-27.
11. Georgina Born, "Uncertainty, the Canon, and Dissident Musics", from Rationalizing Culture, University of California Press, 1995, pp. 164-179.

Nov. 12, 14. Digital Musique Concrète
Listening assignment:
Horacio Vaggione, Agon (1998; 8:45)
Pablo Cetta, ...que me hiciste mal... (1992; 7:57)
Paul Koonce, Pins (1996; 13:23)
Jean-Claude Risset, Sud (1985; 23:56)
Writing assignment #2 due Nov. 12.
Second in-class test Nov. 14.

Nov. 19, 21, 26. Modernism and Postmodernism
Listening assignment:
John Cage, Radio Music (1956; 6:14)
Steve Reich, Come Out (1966; 12:54)
Pauline Oliveros, Bye Bye Butterfly (1965; 8:10)
Laurie Anderson, O Superman (1979; 8:25)
Jean-Claude Risset, 8 sketches for piano (1989; nos. 2, 4, and 8: 1:25, 1:09, 3:29)
Paul Lansky, Idle Chatter (1985; 9:26)
George Lewis, Voyager, no. 1 (1993; 3:00)
Brian Brown, Abyss (2002; 4:36)
DJ Spooky, That subliminal Kid, Open Circuit (1999; 6:58)
Reading assignment:
12. George Lewis, "Interacting with Latter-Day Musical Automata," Contemporary Music Review 18/3 (1999), pp. 99-112.
13. Chris Cutler, "Plunderphonics." from Simon Emmerson, ed., Music, Electronic Media and Culture. Ashgate Press, pp. 87-114.
14. Kim Cascone, "The Aesthetics of Failure: `Post-Digital' tendencies in contemporary computer music". Computer Music Journal 24/4 (2000), pp. 12-18.

Dec. 3, 5. Pop music and art music
Listening assignment
Chuck Berry, Sweet Little 16 (1958; 2:59)
Jimi Hendrix, Are You Experienced? (1967; 4:16)
Kraftwerk, Pocket Calculator (1981; 4:58)
Fatboy Slim, Right Here Right Now / The Rockefeller Skank (1998; 13:20)
Caviar, Tangerine Speedo (2000; 3:39)
Radiohead, Kid A (2000; 4:44)
John Stevens, Barrage #1 (1996; 2:52)
More TBA...
Writing assignment #3 due Dec. 5.
Final exam is on Tuesday, December 10, at 11:30AM.

FOR FURTHER READING:
Computer Music Journal
Leonardo Music Journal
Perspectives of New Music
Journal of New Music Research
Proceedings, International Computer Conference
https://www.crca.ucsd.edu/ (UCSD)
https://www.ircam.fr/ (IRCAM, Paris, France)
https://www.computermusic.org (International Computer Music Association)