Making Generative Phase Music with Max/MSP
Membership plan: Going Deeper | Topics: Sound Design
Course overview
The course recordings are now available
Phasing is a technique used in minimalist music for creating beautiful shifting textures from a single melodic line. Works of minimalist composers such as Steve Reich’s Piano Phase, Clapping Music, and Phase Patterns extensively use this technique
In this workshop we are going to explore how to use Max/MSP for algorithmic composition and apply minimalist phasing techniques to create generative music
What you'll learn
- Understanding of Minimalist Phasing Techniques
- Proficiency in Max/MSP for Algorithmic Composition
- Application of Phasing Techniques in Generative Music
- Creative Exploration and Composition
Who is this course for?
- Max and Max for Live users
- Composers looking to understand the techniques used by Steve Reich
- Sound designers looking explore to explore new techniques
Course content
- 1. Introduction - What is Phasing_
- 2. Generating A Repetitive Pattern and Keeping Time
- 3. MIDI Phasing through Rhythmic Delay
- 4. Refining Our Generative Musical Pattern
- 5. Gradient Phasing
- 6. Multidimensional Phasing and Automation
- 7. Introduction to Working with Audio
- 8. Basic Audio Phasing _ Future Ideas
Requirements
- A Internet connection
Course schedule
Meet your instructor
Umut Eldem is a composer, pianist, and researcher. His musical works and research focus on the exploration of synaesthesia as an artistic medium. He has given lectures on his research of synaesthesia, and had his audiovisual works and installations combining sound and colours presented in Belgium, Turkey, Romania, Russia, and Luxembourg. Umut Eldem is currently a PhD researcher at the Royal Conservatoire of Antwerp, and musical director of the theatre collective Mixed & United. He gives lessons and workshops on music history, musical analysis, and audiovisual design. He is also the keyboardist of the bands Starblind = Earthbound and Transport Aerian. His current PhD research entitled ‘The Hearing Glass: Synaesthetic Correspondences in The Musical Practice’ intends to take the results of his previous research and develop them into an inter-sensory theory of audiovisual art.
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