13th SBCM. 31 august - 3 september - Vitória, ES. Brazil
Workshop
Soundscape Composition: documentation, listening, and creation using computers
- Lecturer: Prof. Barry Truax, School of Communication, Simon Fraser University, Canada
- Targeted audience: Anyone interested in the subject (non-technical)
- Date: Aug. 31st 16:00 - 18:30
- Price:
- Registered at SBCM: R$ 25,00 (subscription now)
- Non-registered at SBCM: R$ 50,00 (Subscriptions will open at September 15th)
Description: The World Soundscape Project (WSP) was established as an educational and research group at Simon Fraser University during the early 1970s and documented soundscapes as part of an over-arching concern to draw attention to the importance of the sonic environment. R. Murray Schafer's definitive soundscape text, The Tuning of the World, and Barry Truax's reference work Handbook for Acoustic Ecology were outcomes of these early years, followed by Truax's publication Acoustic Communication that deals with all aspects of sound and the impact of technology. ??In the field of sonic design, the computer increasingly provides tools for dealing with both the basic material of sound composition, such as granular synthesis, convolution and digital signal processing, and the creation of multi-channel soundscape compositions using recorded materials. Prof. Truax’s presentation will outline the background of acoustic ecology as an area of both scientific research and artistic endeavour, leading into a discussion of soundscape composition as an art form per se, ranging from the pioneering work of the WSP to contemporary compositional approaches to creative presentations of soundscape materials.
Who cares about audio quality anyway?
- Lecturer: Prof. Dr. Marcelo Johann, UFRGS - Brazil
- Targeted audience: Computer Science, Music, and Engineering students
- Date: Sep. 3rd 9h - mini auditorium
- Price:
- Registered at SBCM: R$ 25,00 (subscription now)
- Non-registered at SBCM: R$ 50,00 (Subscriptions will open at September 15th)
Description: The proliferation of affordable electronic devices for recording and audio processing brings an undeniable stimulus to musical creation, making it available to more and more artists everywhere. On the other hand, the fact that basic standards of quality have been improved over time, combined with the numerous conveniences of digital equipment, can give us the wrong impression that the widely available commercial equipment is of "high quality" or are guaranteed to have the needed quality desired for artistic production, since it is difficult to understand their limits in a first evaluation. Both musicians and engineers are easily deluded by the sense that each device is behaving well, and sometimes only become aware of major differences or problems in the final stages of the production. Instead of thinking that the problems are solved, it is still, or perhaps even more important today, that both musicians and engineers know the subtleties of each equipment or tool for the construction of sound art. In art, every little and subtle detail can sometimes influence more than the overall structure of the work. This lecture will present an overview of the evolution of electronic audio equipment, covering various technical, historical, economic and artistic aspects which together allows us to better situate the concept of subjective quality. In particular, examples will be given of the limits and the simplicity of components that are present in expensive recording equipment, and also examples of how small, diverse and unexpected features produce significant sound impacts. In the lecture we also try to rescue the history of technology, people and companies that played and kept playing a key role in high-quality audio. The ultimate goal is to allow musicians, engineers and computer scientists to better understand how the equipment, as well as underlying technical, electronic or mathematical concepts, operate bringing benefits or problems, so that we can consciously achieve the desired balance in each case.
Computer music: an overview
- Lecturer: Prof. Dr. Evandro Manara Miletto - IFRS Campus PoA - Brazil
- Targeted audience: Computing and Music students
- Date: Sep. 3rd 9h - Main auditorium
- Price: R$ 15,00 (subscription now)
Description: The main goal is to present an overview about the computer music field to the audience. Specifically, giving an idea about how the computing technology can be applied to music in order to compose, perform and experiment. The tutorial is primarily focused on students of computing and music, so music theory is not necessary, however people with this background may better enjoy the contents.
