Notice for EIE1D02 EM students
# This website is for Part A of the subject only.
· Your quiz results have been announced in Blackboard. You can check your results and get my feedback via blackboard. The quiz performance for the whole class is shown as follows. You can use your score to locate your position in the class. (2020/10/5)
· A mock test is available in Blackboard. Attempt it and get my feedback. (2020/9/28)
· Final revision guideline part 1 is here. It summaries all staff covered in Part A. (2020/9/28)
· Lab material were uploaded. You can download the lab sheet here. (2020/9/23)
· Some typo mistakes were found in the handout of ‘Sound and Hearing’ (e.g. the example in p.35). They were corrected. The updated pdf file was uploaded to the subject website. You can download it here. The demo sound files in p.27, 36 and 58 are available here. (2020/9/21)
· Sound files for demonstration are uploaded. You can find them here. (2020/9/20)
· Revision guideline part 1 is here. (2020/9/14)
· First-day presentation PPT is here. Note that, the information related to part B is the current arrangement I know. Mr. Pang has the final say. (2020/9/7)
Prelim. schedule is as follows:
!! My ppt version is
subject to change as I may update it for better presentation.
· Sound and Hearing updated @(2020/9/21)
· Ikutarō Kakehashi, An age without samples, Roland Coporation, 2017
· The Oxford handbook of computer music, Oxford University Press, 2011
· Thom Holmes, Electronic and experimental music: technology, music, and culture, New York : Routledge, 2008
· Simon Cann, How to Make a Noise: a comprehensive guide to synthesizer programming, available for free download at http://noiseculpture.com/
· Susanne Boll et. al., “Digital Lifestyle 2020”, IEEE Computer Society Magazine, April-June 2008, pp. 4 – 7.
· Huber, David Miles, The MIDI Manual: A Practical Guide to MIDI in the Project Studio, Focal, 3rd ed., 2007
· Miller Puckette, The theory and technique of electronic music, Singapore : World Scientific, 2007.
· J. Anthony Allen, Music theory for electronic music producers: the producer's guide to harmony, chord progressions, and song structure in the MIDI Grid, Minneapolis, MN. : Slam Academy, 2018
Classics Papers (You can assess them via PolyU Library)
· Electronic Music: New Ways to Play, IEEE Spectrum, Dec 1997, pp. 18-30.
· Earle L. Kent, “Electronic Music – Past, Present and Future,” Trans. IRE-PGA, 1953
· Hugh Le Caine, “Electronic Music”, Proc. IRE, pp. 457-478, April 1956
There is no clear boundary between lecture and tutorial.
· You need a headphone for this lab activity. We will provide headphones, but not enough for each of you. If you don’t want to share headphones with others, bring your personal headphone.
· Submission deadline of the report for lab activity 1 : Oct 12
Sound and hearing : p.27
· Tone 1 : Frequency = 880Hz, Phase = 0, Amplitude =0.3
· Tone 2 : Frequency = 880Hz, Phase = 0, Amplitude =0.6
· Tone 3 : Frequency = 1320Hz, Phase = 0, Amplitude =0.3
· Tone 4 : Frequency = 880Hz, Phase = π, Amplitude =0.3
Sound and hearing : p.36
Sound and hearing : p.58
· Tone 1 : Sine wave (f=450Hz)
· Tone 2 : Square wave (f=450Hz)
· Tone 3 : Sawtooth wave (f=450Hz)
· Tone 1 : Sine wave (f=880Hz)
· Tone 2 : Square wave (f=880Hz)
· Tone 3 : Sawtooth wave (f=880Hz)