Music 680: Special Topics in Music Theory - Electronics in Performance (Fall 2006)
Class 13: December 4, 2006

the present day
	Matthew Burtner  s-morphe-s (2002) for computer metasaxophone
		modeling (impossible) acoustic phenomena through digital means
		the increasing availability of sensor technology and new models of interactivity
	Eleanor Hovda Glosses/Glacier (1991) for electric bass
		the continuing importance of relatively low-tech strategies for electroacoustic sound
		Cartridge Music, Microphony, and Keith Rowe's "tabletop guitar" as a continuing phenomenon
		collaborative working methods and postliterate music (Taruskin)
	Lukas Ligeti Delta Space (2002) for Disklavier and sampler
		following Crumb's embrace of nonwestern culture		
	Jake Rodriguez Parsnip Maker (2000)
		subculture, microculture, and new aesthetic streams

additional contemporary music
	Richard Barrett Transmission (1996-2000)
		contemporary European complexity, but also rock-indebted electronics
		(following Lukas Ligeti's curious blend of aesthetics)
	EKG and Giuseppe Ielasi Group Track 4 (2006)
		lowercase improvisation in an electronic context (and the debt to minimalism)
	Sonreel Narwhal (2004)
		and the increasing difficulty of telling apart the experimental and the popular

large-scale integration in Pd
	breaking a patch into components: interface, computation, storage, sound generation
	send/receive among remote parts of a patch; send/receive with UI objects
	throw~/catch~ (and send~/receive~)
	switch~
	$0 as a means of differentiating independent abstractions
	$1 as a means of getting abstractions to respond to unique control signals

next week: Pd Q&A