Music Technology Introduction

N/A

Learning will take place from an effective practice in each of the programmatic headings, so that each student (or group of students) will develop concrete actions proposed by the teacher or suggested by themselves, according to their preferences or needs, but always having with the objective of its application in concrete projects. Some subjects may be presented by the students, at the suggestion of the teacher, who will monitor the students’ research with a view to a later presentation of the results to the class. From an eminently practical perspective, all the syllabus will translate into concrete tasks to be carried out by each of the students.
Assiduity, punctuality, interest, autonomy in carrying out the proposed tasks: 20%
Simple average of the proposed practical works: 80%

1. Acquire the basic concepts of electricity and computing from the user’s point of view;
2. Know the reality and scope of information technologies in the audio domain;
3. Acquire basic handling skills for essential tools and technologies
4. Form a critical awareness of existing technological means: their pertinence, usefulness, timeliness, scope and relevance;
5. Know and understand the working principles of the musical creation/production tools, with a view to a basic knowledge that can be further deepened and studied in other subjects throughout the course.

1 THE SOUND SYSTEM
The sound system
General principles of electricity
The components of an audio system
The use of a sound system: listening criteria

2 INFORMATION TECHNOLOGIES AND AUDIO
Introduction; Familiarization with basic technology concepts
Settings and environments: different platforms and their specifics
The home studio; from hardware to software

3. WRITING: TEXT AND MUSIC
Musical writing: introduction and use of various musical writing programs existing on different platforms

4 . THE MIDI PROTOCOL (introduction)

5. THE DIGITAL AUDIO
Associated basic concepts
The digital signal in the audio
Summary knowledge of dedicated tools

6. SOUND SYNTHESIS
The use of dedicated hardware and software: synthesizers and samplers
Virtual synthesis: software synthesizers
The Standard Midi File; potential and possibilities of use
MIDI communication: writing/sequencing/recording/editing

• - Practical works - 80.0%
• - Attendance and Participation - 20.0%

NAO

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COREY, J., & Benson, D. H. (2017). Audio production and critical listening: Technical ear training. Routledge, Taylor & Francis Group.

DAVIS, G., & Jones, R. (2000). The Sound Reinforcement Handbook. Hal Leonard Corporation.

EVEREST, F. A., & Pohlmann, K. C. (2022). Master handbook of acoustics. McGraw-Hill Education.

FONSECA, Nuno (2012). Introdução à Engenharia de som. FCA

HENRIQUE, L. L. (2014). Acústica Musical. Fundação Calouste Gulbenkian.

HOSKEN, D. (2018). Introduction to music technology. Taylor & Francis.

HUBER, D. M. (2021). The Midi manual: A practical guide to Midi within Modern Music production. Routledge, Taylor and Francis Group.

HUBER, D. M. & Runstein, R. E. (2018). Modern Recording Techniques. Focal Press.

MARQUES, M. P. (2014). Sistemas e Técnicas de Produção Áudio. Ed. FCA.

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