MUSI/DATT 3070/4070 – Electro-Acoustic Orchestra


DIGM 5070 – Interactive Performance and the Electro-Acoustic Orchestra

Course Syllabus for 3070/4070

Course Syllabus for 5070

gestures video

1/10 – Week 1: Intro/Orientation, Experimental Music History, EAO Overview, Tuning Meditation

Response #1: thee Doug Van Nort Electro-Acoustic Orchestra – ‘Live’ for the Winter Solstice 2022

1/17 – Week 2: Interdependence, Granular+FM instrument introduction, Sounding the Network: Ping Experiments

3070/4070: Assignment #1: Instrumental Invention

5070: Project proposal, draft #1

1/24 – Week 3: Rhythm Circle, Rhythmic Pings, First Two-Space (+Zoom) Telematic Experiment

Response #2: 3070/4070:  INDIGENOUS TO THE NET: Early Network Music Bands in the San Francisco Bay Area  (text only version here)

Note: There will be a message about Flash Player – this is not related to ability to read the text. There is a link at the bottom of each page to progress to the next section. I suggest the web version as there are images and a few sound examples on certain pages. However, if navigation is an issue you can also read the text-only version. This i also a good reference to give you a sense of where you are in the article at any point.

5070: Reminder, please prepare some form of (media-generating) sketch to show in class. If this is not part of ensemble playing and need its own time to share, it should be limited to no more than 10 minutes. Please send me some a/v documentation of this by Monday so that I can know what to expect, and how it fits into our class rehearsal time. If you have any technical requests (cables, etc.), please mention these as soon as possible.

1/31 – Week 4: Two-space playing, Tuning Meditation with Electronics, Gesture-Concepts: whole groups, rest of group, groups, improvise, noise/tone, sudden entry/exit, fade in/out, scanlines, sustain/pointillism, pitch ranges, with, this, continue, volume and density faders

Assignment #2 – DATT

Assignment #2 – MUSI

2/07 – Week 5: Free improv w/ acoustic processing, Gesture-Concepts: rough/smooth, pitch fader, on-off, relate, who-wants?, performer gestures: don’t know, can’t play, please repeat

Responses #3: Listening Selections (see “listening grouping 5” below for artist/piece name)

For this response, please use the gesture-concepts we have discussed so far to describe what you are listening to. Also, in the course of the writing reflect on how you are listening.

2/14 – Week 6: “Transmitting” tones – mental imagery, fm-based rhythmic group play, networked rhythmic play

Assignment #3 – DATT

Assignment #3 – MUSI

2/28 – Week 7:  Gesture-concepts: morph, relate, hits/Braxton hits

Response #4: 

DATT: An Anthology of Chinese Experimental Music 1992​-​2008

Please read the booklet for the collection here and then select 30 minutes worth of pieces to listen to here. (please list what pieces you listened to, separate from your 500-word response or 3 questions).

MUSI: Experimental Vocals, Selections

Ute Wassermann, Jaap Blonk and Michael Vorfeld – Datacide

Jaap Blonk, Paul Dutton, Koichi Makigami, Phil Minton and David Moss – Cappa

Paul Dutton – Stereo Head

Id M Theft Able – Lowell, MA 2016 (watch first 10 mins)

Andrea Parkins & Viv Corringham – at Douglass Street Music Collective, Brooklyn – Aug 13 2013 (watch first 15 mins)

Joan la Barbara – Twelvesong

3/7 – Week 8:  Gesture-concepts: on/off, breaks, stab-freeze, shapeline

3/14 – Week 9:  Grad presentations – Jevi and Xiao, Checking in on sound combinations, Ensemble playing, Point-to-Point

Assignment #4 – DATT

Assignment #4 – MUSI

3/21 – Week 10:  Ensemble playing with and without networked FM rhythms, integrating A2 presets

General Format for Responses (Four in Total)

Write a 1-page (500 word) response; this can take any shape, but below and separate from the main response, this should include a list of three questions that the content raised for you.  Please send me a pdf file that includes your name, course code (3070 or 4070),  and “R1/R2/R3/R4” (depending on the submission) within all digital documents and in the file name, and email them to me before the deadline. The responses are due on Mondays, but can be submitted anytime in advance of this.



AMM and MeV

John Zorn et al – Cobra (2002 recording)

Listening Grouping 1
Pauline Oliveros – I of IV
AMM – Later During a Flaming Riviera Sunset

Listening Grouping 2
the Hub – Simple Degradation and Stuck Note
John Cage – Williams Mix
Tom Erbe – Williams Mix, digital realization

Triple Point – Phase/Transitions (vol. 1)

Triple Point – Phase/Transitions (vol. 2)

Triple Point – Phase/Transitions (vol. 3)

Trevor Wishart – Red Bird
Trevor Wishart – Tongues of FireVox 5
Iannis Xenakis – La Legende d’Er
Iannis Xenakis – Persepolis
​Iannis Xenakis – Hibiki Hana-Ma
Iannis Xenakis – Metastasis

Listening Grouping 3
James Tenney – Saxophony
Phil Niblock – Didgeridoos and Don’ts
Francisco López – untitled #188

Listening Grouping 4
Autechre – Parhelic Triangle
Carsten Nicolai/Ryuichi Sakamoto – Duoon
Derek Bailey/John Stevens – Reflecters
Fennesz – Caecilia
John Butcher – Swan Style
Pan Sonic – Maa
Ryoji Ikeda – C7: Continuum
​Kaffe Matthews – Clean Tone Falling
​ Jem Finer – Longplayer 13.2.2003

Listening Grouping 5
Kim Cascone – Gravity Handler
Christian Marclay – Jukebox Capriccio
​Oval – –
​ Janet Cardiff – The Missing Voice
​ Morton Subotnick – Silver Apples of the Moon (pt 1)
​ Louis Dufour – Materio_*
Richard Devine – Partition Refinement
Gyorgi Ligeti – Atmospheres (Beyond the Infinite)
Kim Cascone – Mirror Test

Listening Grouping 6:

Kim Casone – Gravity Handler

Pauline Oliveros – I of IV (excerpt)

George Lewis – Voyager Duo 2

Jean-Claude Risset – Mutations

Iannis Xenakis – Hibiki-Hana-Ma

Anthony Braxton & Richard Teitelbaum – Behemoth Dreams

Fennesz – Caecilia

Zeena Parkins & Ikue Mori – 39 Steps

Death Ambient (Kato Hideki, Ikue Mori, Fred Frith) – Prophecy

MEV – Spacecraft

Eliane Radigue – Adnos I/II/III

John Chowning – Stria
​David Dunn: Chaos and the Emergent Mind of the Pond
David Dunn excerpts
Mark Fell – multistability
Fennesz – Endless Summer
Oren Ambarchi – Suspension
Terry Riley and the Poppy no Good Band
Pauline Oliveros in the arms of Reynols
Evan Parker / Keith Rowe, Dark Rags

Evan Parker Electro-Acoustic Ensemble – Drawn Inward

John Zorn et al – Cobra (2002)
Parker / Guy / Casserley Trio
James Tenney – Having Never Written a Note for Percussion (tam-tams)

James Tenney – Having Never Written a Note for Percussion (Sonic Youth)

James  Tenney – Cellogram
James  Tenney – Beast

​​Steve Reich: 
Music for 18 Musicians
It’s gonna rain (about here)
Come Out (about here)​

Gerard Grisey – Partiels
Horațiu Rădulescu – Inner Time II
Helmut Lachenmann – Schreiben

Hildegard Westerkamp – Kits Beach Soundwalk
Francisco López – Untitled #281
(note: please sign up for the free SONM site to hear these pieces)

James Tenney – Analog #1 (Noise Study)

Charles Dodge – Earth’s Magnetic Field

Pauline Oliveros – No Mo

Kim Cascone – Gravity Handler

Prurient – Frozen Niagara falls (portion two) (start with volume low on this one)

Pharmakon – Self-Regulating System (start with volume low on this one)

Merzbow – Woodpecker No. 1 (start with volume low on this one)


Alvin Lucier on a Lifetime of Experiments | Red Bull Music Academy
Malcolm Goldstein – solo violin improvisation
Keith Rowe – prepared guitar
Fred Frith & Otomo Yoshihide

Mazen Kerbaj

Atau Tanaka – Le Loup, Lifting, and Myogram

Onyx Ashanti – NIME 2018 performance

Pamela Z – solo voice and electronics

Improvisation avec la Hyper-flûte – Cléo Palacio-Quintin

electrumpet lecture/demo – Hans Leeuw

Lamonte Young and Marian Zazeela – Dream House NYC

endangered guitar – Hans Tammen

Practices of everyday life: Cooking – Chong/Delapierre/Montanaro/Navab

Mogees/Milan installation

Ecosystems feedback music – playlist

Keith Rowe: What is a man and what is a guitar?

Clara Rockmore – The Swan

Michel Waiswisz – performing w/ The Hands

Laetitia Sonami – performing w/ Lady’s Glove 

David Wessel – discussion/performing w/ Slabs










Entire Journals/Conferences:

Jan, Stephen and Robin Laney (ed). Journal of Creative Music Systems. Huddersfield University Press. 2016-2022.

Keislar, Doug (ed.) Computer Music Journal, MIT Press. 1977-2022.

Landy, Leigh (ed.) Organised Sound, Cambridge University Press. 1996-2023.

Marsden, Alan (ed.) Journal of New Music Research, Taylor and Francis. 1984-2022.

MOCO Conference Proceedings (20124-2022). https://www.movementcomputing.org/

MUME Conference Proceedings (2012-2019). https://musicalmetacreation.org/.

NIME Conference Proceedings (2001-2022). www.nime.org

Leonardo Music Journal, in general!

Specific Articles and Books:

AMM Liner Notes
​Articles on Evan Parker Electro-Acoustic Ensemble here and here

Born, G. (2020). Diversifying MIR: Knowledge and Real-World Challenges, and New Interdisciplinary Futures. Transactions of the International Society for Music Information Retrieval3(1).

Cage, J. (2012). Silence: lectures and writings. Wesleyan University Press.

including: The Future of Music: Credo

Cascone, K. (2000). The Aesthetics of Failure:“Post-Digital” Tendencies in Contemporary Computer Music. Computer Music Journal24(4), 12-18.

Cascone – The Aesthetics of Failure

Csikszentmihalyi, Mihaly. Society, culture, and person: A systems view of creativity. Springer Netherlands, 2014.

Chadabe, J. (1997). Electric sound: the past and promise of electronic music. Pearson.

Chadabe – Electric Sound: The Past and Promise of Electronic Music, Chapter 4 (out of the studio) 

Cox, C., & Warner, D. (Eds.). (2017). Audio Culture, Revised Edition: Readings in Modern Music. Bloomsbury Publishing USA.

Bosma, H. (2016). Gender and technological failures in Glitch music. Contemporary Music Review35(1), 102-114.

Bovermann, T., Campo, A. de, Egermann, H., Hardjowirogo, S.-I., & Weinzierl, S. (Eds.). (2016). Musical Instruments in the 21st Century: Identities, Configurations, Practices (1st ed. 2017 edition). New York, NY: Springer.

Chris Brown and John Bischoff – INDIGENOUS TO THE NET: Early Network Music Bands in the San Francisco Bay Area

Mike Bullock – Self-Idiomatic Music

Cage, J. (2012). Silence: lectures and writings. Wesleyan University Press.

Cascone, K. (2000). The Aesthetics of Failure:“Post-Digital” Tendencies in Contemporary Computer Music. Computer Music Journal24(4), 12-18.

Csikszentmihalyi, Mihaly. Society, culture, and person: A systems view of creativity. Springer Netherlands, 2014.

Chadabe, J. (1997). Electric sound: the past and promise of electronic music. Pearson.

Cipriani, Alessandro, and Maurizio Giri. Electronic Music and Sound Design – Theory and Practice with Max/Msp – Volume 1.  Contemponet, 2010.

Cipriani, Alessandro, and Maurizio Giri. Electronic Music and Sound Design – Theory and Practice with Max/Msp – Volume 2.  Contemponet, 2014.

Cook, Perry R. “Real Sound Synthesis for Interactive Applications (Book & CD-ROM).” (2007).

Collins, Nick. Introduction to computer music. John Wiley & Sons, 2010.

Cook, Perry R. Music, cognition, and computerized sound. Cambridge, MA: Mit Press, 1999.

David Dunn – Music, Language and Environment

Emmerson, S. (Ed.) (1986). Language of Electroacoustic Music. London: Palgrave Macmillan.

Emmerson, S., & Landy, L. (Eds.) (2016). Expanding the Horizon of Electroacoustic Music Analysis. Cambridge University Press.

Farnell, A. (2010). Designing sound. MIT Press.

John Dack on Pierre Schaeffer’s Typomorphology

Dodge, Charles, and Thomas A. Jerse. Computer music: synthesis, composition and performance. Macmillan Library Reference, 1997.

Dean, Roger T., ed. The Oxford handbook of computer music. Oxford University Press, 2009.

Godøy, R. I., & Leman, M. (Eds.). (2010). Musical gestures: Sound, movement, and meaning. Routledge.

Gottschalk, J. (2016). Experimental music since 1970. Bloomsbury Publishing USA.

Hayes, L., & Marquez-Borbon, A. (2020). Addressing NIME’s Prevailing Sociotechnical, Political, and Epistemological Exigencies. Computer Music Journal44(2-3), 24-38.

Hayes, L. (2019). Beyond skill acquisition: Improvisation, interdisciplinarity, and enactive music cognition. Contemporary Music Review38(5), 446-462.

Helmholtz, Hermann LF. On the Sensations of Tone as a Physiological Basis for the Theory of Music. Cambridge University Press, 2009.

Howard, David Martin, and Jamie Angus. Acoustics and psychoacoustics. Taylor & Francis, 2009.

Leman, M. (2008). Embodied music cognition and mediation technology. Cambridge, Mass: MIT Press.

Lewis, G. E. (2000). Too many notes: Computers, complexity and culture in voyager. Leonardo Music Journal, 33-39.

Lewis, G. E. (2008). A power stronger than itself: The AACM and American experimental music. University of Chicago Press.

Lewis, G. E. (1996). Improvised music after 1950: Afrological and Eurological perspectives. Black music research journal, 91-122.

Magnusson, T. (2019). Sonic writing: technologies of material, symbolic, and signal inscriptions. Bloomsbury Academic.

Magnusson – Sonic Writing, introduction

McCartney, J. (2011). The SuperCollider Book. (S. Wilson, D. Cottle, & N. Collins, Eds.). Cambridge, Mass: The MIT Press.

Manzo, Vincent J. Max/MSP/Jitter for Music: A Practical Guide to Developing Interactive Music Systems for Education and More. Oxford University Press, 2016.

McLean, A., & Dean, R. T. (Eds.). (2018). The Oxford handbook of algorithmic music. Oxford University Press.

McCormack, J. and d’Inverno, M. (eds.) (2012). “Computers and Creativity”. Springer, Berlin.

Steven Miller: Listening Modes and Strategies

Oliveros, P. (1984). Software for people: Collected writings 1963-80. Unpub Editions.

Pickering, Andrew. “Ontological Theatre Gordon Pask, Cybernetics, and the Arts.” Cybernetics & Human Knowing 14, no. 4 (2007): 43-57.

Puckette, Miller. “The theory and technique of electronic music.” (2007).

Refsum Jensenius, Alexander. A NIME Reader – Fifteen Years of New Interfaces.  Springer. (2017).

Rodgers, T. (2010). Pink Noises: Women on Electronic Music and Sound. Durham NC: Duke Univ Pr.

Roads, Curtis. The Computer Music tutorial. MIT press, 1996.

Roads, C. (2004). Microsound. MIT press.

Roads, C. (2015). Composing electronic music: a new aesthetic. Oxford University Press, USA.

Rossing, Thomas D., ed. Springer handbook of acoustics. Springer, 2007.

Russolo, L. (1913). The art of noise (pp. 35-41). Glover, VT: Something else press.

Russolo – The Art of Noises (chapter one: futurist manifesto)

Ryan, J. (1991). Some remarks on musical instrument design at STEIM. Contemporary music review6(1), 3-17.

Salter, Chris, and Andrew Pickering. Alien Agency: Experimental encounters with art in the making. MIT Press, 2015.

Schaefferian Typology

Pierre Schaeffer – Solfege du L’Object Sonore

Sterne, J. (2012). MP3: The meaning of a format. Duke University Press.

Stockhausen, K. (2004). Electronic and instrumental music. Audio Culture: readings in modern music, 370-80.

Robert Seyfert, Jonathan Roberge (eds.), Algorithmic Cultures: Essays on Meaning, Performance and New Technologies

Russolo, L. (1913). The art of noise (pp. 35-41). Glover, VT: Something else press.

Ryan, J. (1991). Some remarks on musical instrument design at STEIM. Contemporary music review6(1), 3-17.

Stockhausen, K. (2004). Electronic and instrumental music. Audio Culture: readings in modern music, 370-80.

James Tenney – Postal Pieces

Sha, Xin Wei. Poiesis and enchantment in topological matter. MIT Press, 2013.

Steiglitz, Kenneth. A Digital Signal Processing Primer with Applications to Digital Audio and Computer Music. Addison-Wesley, 1996.

Van Nort, D. (2006). Noise/music and representation systems. Organised Sound11(2), 173-178.

Van Nort – Noise/Music and Representation Systems

Van Nort, D. (2009). Instrumental listening: sonic gesture as design principle. Organised sound14(2), 177-187.

Van Nort, D – Distributed Listening in  Electroacoustic Improvisation

Van Nort, D. (2020). Sound, Senses, Musical Meaning, and Digital Performance: Epistemological Reframings. Canadian Theatre Review184, 57-61.

Van Nort, D., Oliveros, P., & Braasch, J. (2013). Electro/acoustic improvisation and deeply listening machines. Journal of New Music Research42(4), 303-324.

Voegelin, S. (2010). Listening to noise and silence: Towards a philosophy of sound art. Bloomsbury Publishing USA.

Wessel, D., & Wright, M. (2002). Problems and prospects for intimate musical control of computers. Computer music journal26(3), 11-22.

Wishart, T. (1988). The Composition of” Vox-5″. Computer Music Journal12(4), 21-27.

Wishart, Trevor. Audible design: a plain and easy introduction to practical sound composition. Orpheus the Pantomime, 1994.

Wishart, Trevor, and Simon Emmerson. On sonic art. Vol. 12. Psychology Press, 1996.

Xenakis, Iannis. Formalized music: thought and mathematics in composition (rev. ed). Pendragon Press, 1992. Xenakis – Formalized Music