Badge Requirements

Badges

You are expected to meet the requirements as they are stated—no more and no less. You must do exactly what is stated in the requirements. If it says “show or demonstrate,” that is what you must do. Just telling about it isn’t enough. The same thing holds true for such words as “make,” “list,” “in the field,” and “collect,” “identify,” and “label.” - taken from the Boy Scouts of America Merit Badge information page

1. Musique Concrète

   1. Listen:

      • musique concréte works by these composers = Pierre Schaeffer, Jonty Harrison

      • 3min pieces = http://ezproxy.baylor.edu/login?url=https://electrotheque.com/album/2408

      • 1min pieces = SEAMUS Miniatures and “60x60” in this folder = https://baylor.box.com/s/631s4tyynt5xy3m71mf7o1rbfaad1kd9

      • 3min monophonic works = SEAMUS Miniatures 2020 link = https://baylor.box.com/s/fz5q704o5vjc4gs4sefh51jhq0zrywak

   2. Record samples:

      1. Divide the alphabet letters evenly between all the students in the class

      2. Record sounds: each sound must begin with a different letter of the alphabet you were assigned. Record sounds around campus, in your apartment, in H-E-B, in a restaurant, at the Zoo, etc.

      3. Crop the samples and put in the alphabet_samples Box folder so that each sample has the file name of it's letter. Note: the files should continue to be lossless (.AIFF, .WAV, etc.)

         • sample rate = 48kHz

         • bit depth = 24bit

   3. Manipulate the sounds using Logic Pro plugins (and any other programs you want such as Max (granular synthesis), Pure Data, Csound, Blue, SPEAR, SoundHack, etc.). Only use sounds the class recorded. Save your manipulated sounds in a folder and label them in whatever way will help you identify and use them when you are creating a piece.

   4. Put one of your sounds in a sampler instrument so you can play it on a MIDI keyboard.

   5. Put all your sounds in order in Logic Pro not worrying too much about transitions at this point

      • create a drafted a plan (form, concept, idea, trajectory, etc.) on paper that will help you organize your sounds into a meaningful, deliberate work of music

   6. Fill in all transitions, orchestrate sounds by layering on more sounds (shaping the timbre), use automation to smooth out horizontal trajectory

   7. Listen to the completed project at least five times. Take note of where something sounds too long (gets boring), should last longer (because it is so great!), gets too loud or too soft, foreground sounds get covered up by background sounds, lacks frequency range interest, etc. Make changes accordingly.

   8. Export it all as a 2-channel lossless audio file (.AIFF, .WAV, etc.)

2. Live Electronics

   1. Create a one minute interactive piece for an acoustic instrument and computer (Max).

   2. Create a score (may be hand written instructions that are more for you than for someone else to be able to perform the work).

   3. Perform the piece yourself during class.

   4. Listen to the following composers' music:

      1. Alvin Lucier, David Tudor, John Cage

3. Advanced Physical Computing

   1. work with an Arduino and sensors/actuators to create an electroacoustic centered sound installation

      1. Here is a wiki with information about the 37 sensors we have.

4. Pure Electronic Music

   1. develop and perform a structured [indeterminate] improvisational work for analog synths

   2. composers = Stockhausen, Babbit, Raymond Murray Schafer

5. Generative Composition

   1. create a generative electroacoustic work

   2. AI

   3. algorithmic

6. Spatialization

   1. create an octophonic electroacoustic work