One of the most exciting areas of music technology development is happening in the realm of gaming and interactive virtual space. Music and Sound Design play crucial roles in the design of gaming environments, narratives and flow. And as designers create ever more innovative game experiences featuring rich graphics, fast multiplayer networking and next-generation controllers, new techniques for creating immersive music and sound for games to complement and showcase these advances are not only possible but necessary.
This Studio class will explore cutting edge techniques for building interactive sound and music systems for games and 2D/3D rendered environments. To better understand the link between virtual space and sound, students will learn the basics of designing sound and composing music for interactive game spaces by designing and implementing rich musical games within the Unreal gaming engine. Coursework will require the ability and desire to code game logic and design game environments. Techniques for integrating sound and music within games including game-centric middleware tools like FMOD and WWISE, interactive sound synthesis and computer networking using Open Sound Control will all be explored.
Working in teams or on their own, students will design their own music-rich game experience, compose music, design sound material, and implement their own playable musical game experiences.
Students will explore the artistic role of music and sound in gaming by building their own interactive sound and music-rich games and 2D/3D rendered environments. Within the context of their own creative game projects, students will learn the basics of designing sound and composing music for interactive game spaces. Using workflow programming languages and software tools, students will program basic gaming interactions, link them to interactive audio software, and create a musical gaming experience.
Evaluation is based on the following:
You will be required to present some of your assignments to the class, to show your work within the software environment you used to create it, and to engage the class in discussion of your work. When you are not presenting your own work, you need to be attentive to whoever is presenting, and to engage them in discussion of their work. Failure to participate in class will lower your grade.
You must attend class to succeed in this course.
Collaboration between students in this course is strongly encouraged. Likewise, students are encouraged—indeed, to some extent required—to exchange ideas, opinions and information . You are also encouraged to help each other in the lab and with performance, production, and presentation of composition projects.
Plagiarism of any kind is in direct violation of University policy on Academic Dishonesty as defined in the Rensselaer Handbook, and penalties for plagiarism can be severe. In this class you will be expected to attribute due credit to the originator of any ideas, words, sounds, or music which you incorporate substantially into your own work. This applies particularly to citation of sources for sonic "samples" included in your compositions.
Submission of any assignment that is in violation of this policy may result in a grade of F for the assignment in question. Violation of this policy will be reported, as defined in the Rensselaer Handbook
Students requiring assistance are encouraged to contact Disability Services: http://doso.rpi.edu/dss to discuss any special accommodations or needs for this course.
Office Hours for Fall, 2021 will be ONLINE ONLY
Designing Sound, by Andy Farnell
Musimathics (Vol. I), by Gareth Loy
Musimathics (Vol, II), by Gareth Loy
Theory and Techniques of Electronic Music, by Miller Puckette
ARTS 2961 Git Repo: https://github.com/robertkhamilton/arts2961
The proposed course topics and schedule will be as follows (take note of project due dates!). Based on class progress and interests, this schedule is subject to change. Special topics, guest lectures, supplemental reading, listening and additional assignments to be announced.