Hi,
I - or rather I should say - the students have the luxary, that we have no prescribed curriculum. So to say: we can play (but not sleep;).
My concept is based on a rather broad approach. The most prominent goal is to get them interested to dive deeper into producing sounds via Sonic Pi. This does not have to be music - or what we usually mean it to be. I had a student who created a (rather complicated) ring tone for her mobile phone to wake up in the morning. I frequently encourage to produce self recorded samples and e. g. to produce a short radio play.
In the end of the course they will have to deliver a short piece (be it drum programming, a musical peace, a ring tone) and a project documentation. During the course we have several presentations done by the students covering the basics of synthetic sound production (or more concrete: how does a synthesizer work and of what parts is it composed) but there is also a session about Stockhausen and the funny conversation with more modern representatives of electronic music such as Aphex Twin. This is a step towards subjects like musicology, musical history but also musical analysis; duriing the last course students took the opportunity, analysed a piece of Scanner and created a new piece based on these ideas.
Last but not least we do pair-programming (or should I say: pair-composing?) during the course hours. This encourages communication and develops skills you need for that ("If you know more, you can help; if you know less you will probably ask better questions because you do not suffer the curse of knowledge)
I think Sonic Pi is a brilliant tool not only to talk and learn about programming and music, but also about the aforementioned subjects and aspects as well as - of course - musical theory, creative techniques, musical genres aso.
And you are right: sound synthesis is a tricky and broad field. I myself did not know much about it before I started the course for the first time. I still have not figured out an ideal approach (if there is any) but I have a guideline:
I want my students to understand e. g. the synthesizer first and foremost with respect to Sonic Pi. In the best case I manage to show additive synthesis via Sonic Pi. Another example: they need to know what a “cutoff” is. First thing is to listen and to recognise the sound of it; second it is quite useful to understand the underlying concept; obviously a “cutoff” will have different effects in a lowpass compared to a highpass filter. But for me it would be enough if they just used it with some awareness, I don’t need them to know the internals of it (different filter slopes and so on). So in the best case they will have an idea about what optons they are tweaking.
But: to listen is not always the best - or better - the first way. As far as I think it is mostly a better approach to make audible and to visualise. There are some excellent resources online, especially for things like synthesis. See e. g. Overtones, harmonics and Additive synthesis or Amplitude Modulation. Yet I still have to figure out how and when it’s the best moment to use these during the course. Right now I rely on student’s initiative and provide these resources via a reading list. That said: Probably it is a good idea to use some synth like e. g. helm (which has a very nice interface) to show things live. I will try it this time (because last year I hadn’t experimented with software synths).
One more thing: The course is every fortnight for 3 hours and my experience is that students do not work at home (which I strongy advise to get the most out of our meetings). So this year (starting in two weeks) I decided to give homework. Motto: Restriction triggers creativity ( - or would you rather use the word: contraint? I can’t tell…). I got this idea from a book by a German artist: “Klieber, Ulrich: Plastische Übungen in der künstlerischen Lehre” (parts of Dennis de Santis’ Making Music also advise restriction, not to mention Brian Eno for whom this was/is one of the key principles of art especially in the age of digital technology with its abundance of options). If you have a chance have a look inside inside Klieber’s book. It is awesome what you can build from drip mats and drinking straws. I just adopted this principle and the first task will be: Build something using only play
, sleep
, amp
, attack
, release
and sustain
. This obvously involves to experiment not only with key concepts of Sonic Pi but also with the ADSL envelope. Whoever likes to use other/more constructs (e. g. change the synth) can do that - but not for this task.
I can report back next year whether this worked out…
Sorry, post got longer than I planned.
Martin