Making music with MATLAB: an electronic music synthesis course for engineering students

Doering, E.

doi:10.1109/icassp.1999.757617

Cited by 5 publications

(5 citation statements)

References 5 publications

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“…(2) en las EASM existen especialidades como Sonología y Composición, donde el uso de este instrumento está más extendido, lo cual demuestra la mayor atención prestada por estas disciplinas a los sintetizadores y al timbre electrónico (Billis et al, 2011;Doering, 1999;Foster, 1993;Letowski, 1985;Quesnel, 2001;Stockhausen y Kohl, 1996) y (3) los sintetizadores y los teclados MIDI se usan en muchas ocasiones como si fueran un piano electrónico, desaprovechando el espectro de presta-ciones del instrumento (Mills y Murray, 2000;Mooney, 2011;Salaman, 1997).…”

Section: Discusión E Implicaciones Educativasunclassified

“…IMMA PONSATÍ FERRER reflejan la gran distancia que separa las disciplinas de la educación musical y la TM. Este hecho puede verse reflejado en la literatura científica, donde los estudios provenientes de la educación musical se orientan generalmente a la investigación del sintetizador como parte del proceso compositivo y creativo (Nilsson, 2003;Nilsson y Folkestad, 2005;Palazón-Herrera, 2016;Sastre et al, 2015;Savage, 2005;Smith, 2011;Stauffer, 2001;Walzer, 2016;Wiggins, 1991), mientras los estudios que provienen del campo de la ingeniería y las ciencias han ahondado en el funcionamiento del sintetizador, la síntesis de sonido y la creación de sonidos electrónicos sin una finalidad específicamente musical (Billis et al, 2011;Doering, 1999;Foster, 1993;Letowski, 1985;Quesnel, 2001).…”

Section: Pablo Puentes Madarnás Cristina González-martínunclassified

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El Conocimiento Y El Uso Pedagógico Del Sintetizador en La Educación Musical De CataluñA

González-Martín¹,

Mandrnás²,

Ferrer³

2022

Artseduca

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RESUMENEn la actualidad existe una amplia variedad de estilos musicales que incluyen el sintetizador en su pro- ceso de creación. El uso de este instrumento en la industria musical se ha extendido de tal modo que consideramos necesario llevar a cabo una investigación exploratoria para examinar cómo esta ten- dencia se reflejaba en las aulas de educación musical. El objetivo de la investigación se centró, pues, en indagar acerca del conocimiento y el uso pedagógico del sintetizador en los diversos niveles de la educación musical de Cataluña. Para ello, se realizaron entrevistas semiestructuradas a 8 expertos en tecnología y educación musical. La información fue analizada mediante la técnica del análisis temá- tico y los resultados obtenidos revelaron que: (1) las experiencias con el sintetizador en la educación musical son escasas; (2) los motivos por los que el sintetizador no se usa regularmente en la educa- ción musical son variados, destacando la falta de formación del profesorado, la falta de tiempo en los currículos y la falta de materiales didácticos; (3) las propuestas de los expertos para la didáctica del sintetizador muestran puntos de acuerdo y discrepancias, y (4) las opiniones de los expertos muestran la importancia de una miscelánea de temas en torno al sintetizador en el contexto educativo actual, la importancia del autodidactismo en el aprendizaje del sintetizador, las TIC y la música. A partir de este análisis, podemos concluir que (1) es preciso formar al profesorado en cuanto al conocimiento y uso pedagógico del sintetizador, (2) es necesario poner al alcance del profesorado materiales didácticos y orientaciones metodológicas, y (3) el uso apropiado del sintetizador puede dar al alumnado la oportu- nidad de experimentar con sonidos que le son familiares, garantizando que el timbre reciba la misma atención en la educación musical que en la industria musical.

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Section: Discusión E Implicaciones Educativasunclassified

Section: Pablo Puentes Madarnás Cristina González-martínunclassified

El Conocimiento Y El Uso Pedagógico Del Sintetizador en La Educación Musical De CataluñA

González-Martín¹,

Mandrnás²,

Ferrer³

2022

Artseduca

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“…As an example, the subtractive synthesis technique known as the Karplus-Strong plucked string algorithm 7 produces a remarkably life-like sound using only a delay line, a low-pass filter, and a noise source. The signal flow diagram of the algorithm (Figure 4) reveals an IIR filter structure suitable for student analysis as a project or inclass activity 1 . A real-time interactive LabVIEW implementation is used to listen to individual notes, which provides an initially satisfactory result.…”

Section: Algorithm In Musical Contextmentioning

confidence: 99%

“…As students implement synthesis and filtering algorithms, they develop a deeper understanding of the inter-relationships between the physical sound, its visual representations such as time-domain waveform and spectrogram, and its mathematical model. ECE481, Electronic Music Synthesis, an elective course in music synthesis for electrical and computer engineering majors initially offered in 1998, helps students tie together numerous conceptual threads from the required curriculum and strengthens their DSP programming skills with a series of mini-projects 1 .…”

Section: Introductionmentioning

confidence: 99%

Enhancing Digital Signal Processing Education With Audio Signal Processing And Music Synthesis

Doering

Shearman

Luther

2008 Annual Conference &Amp; Exposition Proceedings

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Doering received his Ph.D. in electrical engineering from Iowa State University in 1992, and has been a member the ECE faculty at Rose-Hulman Institute of Technology since 1994. He teaches courses in digital systems, circuits, image processing, and electronic music synthesis, and his research interests include technology-enabled education, image processing, and FPGA-based signal processing. Sam Shearman, National Instruments Sam Shearman is a Senior Product Manager for Signal Processing and Communications at National Instruments (Austin, TX). Working for the firm since 2000, he has served in roles involving product management and R&D related to signal processing, communications, and measurement. Prior to working with NI, he worked as a technical trade press editor and as a research engineer. As a trade press editor for "Personal Engineering & Instrumentation News," he covered PC-based test and analysis markets. His research engineering work involved embedding microstructures in high-volume plastic coatings for non-imaging optics applications. He received a BS (1993) in electrical engineering from the Georgia Institute of Technology (Atlanta, GA). Erik Luther, National Instruments Erik Luther, Textbook Program Manager, works closely with professors, lead users, and authors to improve the quality of Engineering education utilizing National Instruments technology. During his last 5 years at National Instruments, Luther has held positions as an academic resource engineer, academic field engineer, an applications engineer, and applications engineering intern. Throughout his career, Luther, has focused on improving education at all levels including volunteering weekly to teach 4th graders to enjoy science, math, and engineering by building Lego Mindstorm robots. In his current position he manages the NI Textbook program and has had the opportunity to collaborate on numerous textbooks including "Learning with LabVIEW" by Robert H. Bishop and "Embedded Signal Processing with the Micro Signal Architecture" by W.S. Gan, and S.M. Kuo. Luther graduated from the University of Missouri-Columbia in 2003 with a bachelor's degree in Electrical Engineering. He, his wife and son live in Austin, Texas.

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“…clipping, sample rate, phase). Incorporating music into instrumentation not only helps to expand students' understanding of music through various engineering concepts such as amplitude (loudness) and frequency (pitch), but also deepens their comprehension of signals and systems in terms of musical concepts that they already intuitively know 3,4 . Thus, students can not only improve their appreciation and understanding of music, but also develop a firmer grasp of difficult concepts that have been presented in class 5 .…”

Section: Introductionmentioning

confidence: 99%

Musical Analogies as a Teaching Tool for Engineering Concepts

Rhudy

Rossmann

2015 ASEE Annual Conference and Exposition Proceedings

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This project investigated the inclusion of a music laboratory experience within the existing core Mechanical Engineering curriculum at Lafayette College. Music is a natural addition to engineering curricula as it can easily be used to illustrate many different engineering concepts. This allows students to think about their engineering topics from a different perspective, which helps to improve their understanding of these concepts. Additionally, by using music as a teaching tool, students are also exposed to topics from the art of music. Students completed a survey both before and after the experience in order to reflect on their learning. On average, the students reported a 30.5% and 39.9% increase in their understanding of engineering and musical concepts, respectively.

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Making music with MATLAB: an electronic music synthesis course for engineering students

Cited by 5 publications

References 5 publications

El Conocimiento Y El Uso Pedagógico Del Sintetizador en La Educación Musical De CataluñA

El Conocimiento Y El Uso Pedagógico Del Sintetizador en La Educación Musical De CataluñA

Enhancing Digital Signal Processing Education With Audio Signal Processing And Music Synthesis

Musical Analogies as a Teaching Tool for Engineering Concepts

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