Music Technology Seminar (MUMT605)
Fall 2016 (Friday, 9:35 A.M. – 12:25 P.M.)
New Faculty Music Building, 555 Sherbrooke
West, 5^{th} Floor, Room A512
Address: http://www.music.mcgill.ca/~depalle/MUMT605.html
Version: 1.1 (Version
history)
Last update: 09/22/2016
Name: Philippe Depalle
Email: depalle@music.mcgill.ca
Phone: (514) 3984535 # 00317
Office: 550 Sherbrooke
West, 5^{th} Floor, Suite 500, Room 503
Office Hours: upon request, by
appointment
Most digital
sound synthesis methods and audio processing techniques are based on the
spectral representation of sound signals. This seminar starts with a
theoretical and practical study of spectral representation, spectral analysis,
and spectral modification of sound signals. Digital sound synthesis and sound
processing techniques are then presented as specific spectral modelling or
alterations from which their capabilities, properties, and limitations are
deduced. Techniques explored in this context include the phasevocoder,
additive synthesis, sourcefilter synthesis, nonlinear (distortion)
processing, and audio effects. Available Computer Music software and ad hoc
pieces of software are used as examples and illustrations. Evaluation will be
based on 2 assignments (25% each), one inclass presentation (15%), and a final
project (35%).
The final mark will be derived as follows:
Date 
Week 
Class 
Subject 
Evaluation

09/16/2016 
38 
01 


09/23/2016 
39 
02 


09/28/2016 5:307:00 p.m. 
40 
02.5 
Spectral Analysis of
DiscreteTime Signals Music Tech Meeting Room (521) 

09/30/2016 
40 
03.5 
Assignment
1 

10/05/2016 5:307:00 p.m. 
41 
04 
Music Tech Meeting Room (521) 

10/07/2016 
41 
05 

10/14/2016 
42 
06 

10/21/2016 
43 
07 
Assignment
1 

10/28/2016 
44 
08 
Assignment
2 

11/04/2016 
45 
09 

11/11/2016 
46 
10 

11/18/2016 
47 
11 
Assignment
2 

11/25/2016 
48 
12 
Final
Project 

12/16/2016 
51 
13 
Inclass presentation 
Final
Project Due 
Moore, E. R., Elements of Computer Music, PrenticeHall,
Englewood Cliffs, New Jersey, 1990.
Selection of useful Matlab documentations (pdf files available as downloadable
files through the Matlab doc Window):
getsart.pdf, Matlab –
Primer, version R2016a, 206 pages, 2016.
matlab_env.pdf, Matlab
 Desktop Tools and Development Environment, version R2016a, 258 pages, 2016.
math.pdf, Matlab 
Mathematics, version R2016a, 648 pages, 2016.
matlab_prog.pdf, Matlab
– Programming Fundamentals, version R2016a, 1104 pages, 2016.
matlab_refbook.pdf, Matlab
– Function Reference, version R2016a, 11052 pages, 2016.
graphg.pdf, Matlab 
Graphics, version R2016a, 550 pages, 2016.
signal_gs.pdf, Signal Processing Toolbox  Getting
Started Guide, version R2016a, 60 pages, 2015.
signal_tb.pdf, Signal Processing Toolbox –
User’s Guide, version R2016a, 958 pages, 2016.
signal_ref.pdf, Signal Processing Toolbox –
Reference, version R2016a, 2150 pages, 2016.
McClellan J. H., R. W. Schafer, and M. A. Yoder, DSP First, A Multimedia Approach, PrenticeHall,
Upper Saddle River, New Jersey, 1999.
Orfanidis, Sophocles, Introduction to
Signal Processing, PrenticeHall, 1999, 798 pages. Freely available as a
pdf at: http://eceweb1.rutgers.edu/~orfanidi/intro2sp/
Zölzer, U., DAFx: Digital Audio Effects, John Wiley & Sons, Chichester,
2^{nd} edition, 2011. Available in electronic version at the McGill
library.
MAX/MSP version 6.1.10:
Online documentation available at Max_7_doc.
MAX/MSP version 4, pdf
files available at Max/MSP_4.6.2_Documentation:
MSP46ReferenceManual.pdf, Reference Manual,
version 4.7, Cycling '74, August 2006, 476 pages.
MSP46TutorialsAndTopics.pdf, Tutorials and
Topics, version 4.6, Cycling '74, August 2006, 246 pages.
Max46Fundamentals.pdf, Fundamentals, version
4.6, Cycling '74, August 2006, 88 pages.
Max46Topics.pdf, Max Topics, version 4.6,
Cycling '74, August 2006, 152 pages.
Max46Tutorials.pdf, Tutorial, version 4.6,
Cycling '74, August 2006, 367 pages.
Max46ReferenceManual.pdf, Reference Manual,
version 4.6, Cycling '74, August 2006, 724 pages.
Content: Goal and Motivations (Sound Synthesis: Modelling, Synthesis,
Analysis, Control). Signal and Information (Signal as an Information Carrier,
Signal Processing, Signal Processing and Computer Music). Signal Representation
(Introduction, Temporal Representation: Definition, ContinuousTime Signals,
DiscreteTime Signals, Digitisation of Signals, Reconstruction of Signals).
Max/MSP: Review of the Structure, Typology of Objects,
Signal Processing Algorithms Design Constraints (RealTime, DataFlow).
Reading Guidelines: Elements of Computer Music (Chapter I. Chapter II, pages
2746, Appendix A, pages 455458. Appendix B).
Content:
Spectral Representation of Analog Signals. Angle,
Trigonometric Functions, and Complex Numbers (Cartesian Coordinates, Polar
Coordinates, Complex Numbers). Amplification and Phase Shift. Mean Value of a
Cosine Wave. Complex Modulation and Fourier Transform. Spectrum of a Cosine
Wave. Fourier Series (Cosine Spectrum, Sine Spectrum, Even and Odd Functions
Spectra, Periodic Signal Spectrum, Examples). Nonperiodic Signal Spectrum
(Introduction, Fourier Transform, Examples). Convolution.
Max/MSP: atan~, atan2~, cartopol~,
click~, cos~, cosx~, phasor~, poltocar~,
sinx~, sqrt~,
train~, trapezoid~, triangle~.
Reading Guidelines: Elements of Computer Music (Chapter II, pages 5564 &
6972, Appendix A, pages 458464)
Content: Link
between the Spectrum of a Signal and its Periodized
Version. FiniteDuration Spectral Analysis (Introduction, Rectangular
Windowing, Fourier Series Decomposition). Impact of Sampling on Analog Signals
Spectra (Introduction, Spectral Duplication, Spectral Aliasing, DiscreteTime
Fourier Transform). Spectral Analysis of DiscreteTime Signals.
Reading Guidelines: Elements of Computer Music (Chapter II, pages 6488).
Content:
Introduction, FiniteDuration Spectral Analysis,
Frequency Resolution, Dynamic Resolution, Smoothing Windows (Introduction,
Generic shape of a smoothing window, Main features of a window: Main Lobe
Bandwidth, Highest Side Lobe Level, Side Lobe FallOff, WorstCase Processing
Loss, Main windows: Rectangular, Triangular, Hann, Hamming, BlackmanHarris 3,
BlackmanHarris 4), Examples, Window size choice, TimeFrequency Uncertainty,
Zeropadding, Fast Fourier Transform and Spectral Analysis).
Max/MSP:
buffer~, cartopol~, fft~, ifft~, log~, peek~, play~, poltocar~.
Reading Guidelines: Elements of Computer Music (Chapter II, pages 93104).
Content: Introduction. ShortTime Fourier Representation (Introduction,
Definition, Fourier Transform Interpretation, Filter Bank Interpretation). STFT
Analysis (Introduction, Temporal Sampling, Spectral Sampling). STFT Synthesis
(Bank Filter Summation, Overlap Add Method). STFT Processing (Constant Filtering,
TimeVarying Filtering).
Reading Guidelines Elements of Computer Music (Chapter III, pages 229246).
Content: Introduction. Instantaneous Frequency, Time Scaling, Pitch Scaling,
CrossSynthesis, Examples (Fast Convolution, CrossOver
Filter, Spectral NoiseGate, PitchScaling).
Max/MSP:
capture~, cartopol~, fft~, fftin~, fftinfo~, fftout~, frameaccum~, framedelta~, ifft~, pfft~, phasewrap~, poltcoar~.
Reading Guidelines: Elements of Computer Music (Chapter III, pages 227229 &
246263).
Content:
Introduction. Model (Synthesis Model, Link between Additive
Synthesis, and Fourier Transform). Additive Analysis (Spectral peak parameter
extraction, partial trajectory extraction). Additive Synthesis Implementation
(Introduction, Lookup Table, Overlap and Add Method, Phase Interpolation
Method).
Max/MSP: cos~,
cosx~, cycle~, ioscbank~, oscbank~, sinx~.
Reading Guidelines: Elements of Computer Music (Chapter II, pages 2746. Chapter
III, pages159173 & 207227).
Content:
Introduction. Generic Model. Link with Physical
description of Musical Instruments. Link with ShortTime Fourier Transform.
Filter Structures (AllPole Model, Bank of Second Order IIR Filters, Cascade of
Second Order IIR Filters). Source Structures (Harmonic, Noisy, ShortTime
Sources). Examples (Classic Vocoder, Karplus Strong
Synthesiser, Modèles de résonance,
3band equalizer).
Max/MSP:
biquad~, buffer~, buffir~, fffb~, reson~, tapin~, tapout~, waveform~, zerox~, filtergraph, lores~, onepole~, teeth~.
Reading Guidelines: Elements of Computer Music (Chapter II, pages 8893. Chapter
III, pages 152156, 263271, 273278 & 291294).
Content: Physical Modelling Synthesis. Efficiency of Physical Modelling
Synthesis. Physical Modelling. Excitation and Resonance. Classical Physical
Modelling Methodology: MassSpring Paradigm. Waveguide. Modal Synthesis. A
Modular Approach.
Reading Guidelines: Elements of Computer Music
(Chapter III, pages 278291).
Content:
Introduction. Amplitude Modulation. Frequency
Modulation. NonLinear Waveshaping (Introduction.
Basic Principle. Waveshaping Function. Spectral
results of Structural Properties. Behavior Analysis.
Polynomial Waveshaper. Chebyshev Polynomials.
Amplitude as a Modulation Index. Implementation of a Nonlinear processor:
Amplitude Scaling, Example, Use of a HighPass Filter).
Max/MSP:
abs~, buffer~, groove~, index~, cycle~, info~, kink~, lookup~, overdrive~, peek~,
poke~, pong~, pow~, round~ thresh~, wave~, waveform~.
Reading Guidelines: Elements of Computer Music (Chapter III, pages 315339 &
271273).
Version History <Back>
1.1 – September 22^{th}, 2016
Mostly changed the time schedule to reflect course catchup:
2 additional
dates for two 1.5hour courses (Sept. 28^{th}, and Oct. 05^{th})
Sequence of
assignments changed to be synchronized with the course reschedule
Fixed the date
of inclass presentation, initially wrongly scheduled on the 18^{th} instead
of the 16^{th}
Matlab documentation file signal_gs.pdf: changed year of
publication.
1.0 – September 16^{th}, 2016
Original version
1)
Right to submit in English or French written work that is to be graded
[approved by Senate on 21 January 2009]:
In accord with McGill University’s
Charter of Students’ Rights, students in this course have the right to submit
in English or in French any written work that is to be graded.
This right applies to all written work
that is to be graded, from oneword answers to dissertations.
This statement is not needed for
courses in which acquiring proficiency in a language is one of the objectives
or for courses in which students do not submit written work that is to be
graded.
Instructors who cannot grade French
written work should consult their Chair/Director or Dean, in faculties without
departments, to make arrangements for grading French submissions.
2)
Academic Integrity statement [approved by Senate on 29 January 2003]:
McGill University values academic
integrity. Therefore all students must understand the meaning and
consequences of cheating, plagiarism and other academic offences under the Code
of Student Conduct and Disciplinary Procedures (see www.mcgill.ca/students/srr/honest/
) for more information).
You may use this FRENCH TRANSLATION of
the Academic Integrity statement on your course outlines as you see fit:
l'université McGill
attache une haute importance à l’honnêteté académique. Il incombe par
conséquent à tous les étudiants de comprendre ce que l'on entend par tricherie,
plagiat et autres infractions académiques, ainsi que les conséquences que
peuvent avoir de telles actions, selon le Code de conduite de l'étudiant et des
procédures disciplinaires (pour de plus amples renseignements, veuillez
consulter le site www.mcgill.ca/students/srr/honest/
).
N.B.
Failure by an instructor to include a statement about academic integrity on a
course outline shall not constitute an excuse by a student for violating the
Code of Student Conduct and Disciplinary Procedures [Senate, 29 January 2003].