ARTICULATION DOCUMENT
T218 Sound Synthesis
MODULE STRUCTURE
Module Category: Specialisation
Level (year of study): Year 2
Credit Units: 4
Curriculum Hours: 15 weeks, 4 hours per week
Contact Hours: 60
Module Assessment: Continuous Assessment: 40%
- 15 Daily Grades
Summative Assessment: 60%
Understanding Test 1: 15% (written, open book, online)
Understanding Test 2: 15% (written, open book, online)
Understanding Test 3: 30% (written, open book, online)
SECTION 2: MODULE OVERVIEW
This module is designed to challenge students to understand and experiment with
progressive sound generation techniques that require the development of unique
compositional strategies. Techniques covered include subtractive, sampling, FM and
granular synthesis. The investigation of tailored performance interfaces, advanced
sequencing, and sound manipulation techniques will guide students in fully utilizing these
synthesis techniques in the creation of original works.
School of Technology for the Arts, Republic Polytechnic
T218 Sound Synthesis
Page 1
Modules Aims
The module aims to teach both practical and theoretical principles of various sound
generating techniques and students learn to
PCDF:
1) Apply historical and contextual knowledge of sound synthesis in production
practices, including the evolution and development of standards used in music
technology.
2) Use both analog and digital sound synthesis tools, for music production and sound
effects
3) Work in teams and individually to develop a sonic arts portfolio
4) Use critical listening and sound perception principles to influence own work
Module Coverage
Lessons take place in an audio lab using both hardware and software synthesizers. Ideally
students taking this module should have previously completed T214 (Sound Design).
1) Compare and contrast developments in technology and creative sound synthesis in the
performance and music production industry
2) Review works from a range of artists in music genres that use analog and/or digital sound
synthesis
3) Discuss and compare synthesis techniques, their processes and acoustics results
4) Use analogue tape/sound manipulation techniques modelled with digital technology for
creative and engineering applications in a studio
5) Be aware of the prevalent standards used for the communication between devices
(control voltage/gate, MIDI, Open Sound Control) in a synthesis environment
6) Employ modular synthesis techniques to manipulate (patch) signal flow for experimental
sound design
7) Distinguish between standards, alternative control surfaces and input devices, and their
influence on performance
8) Apply critical listening when synthesizing sounds for production purposes
9) Illustrate the underlying architecture of electronic synthesizers (i.e. modules,
components, connectivity), through circuit diagrams
10) Use a range of synthesis techniques (including frequency modulation, amplitude
modulation, subtractive synthesis, wavetable and granular synthesis, and frequency
modulation) in creating original sonic works
School of Technology for the Arts, Republic Polytechnic
T218 Sound Synthesis
Page 2
MODULE OUTCOMES AND LEARNING OUTCOMES
Allocated time per day
Module Coverage
Discussions in
Study Cluster
Compare
and
contrast
developments in technology and
creative sound synthesis in the
performance and music production
industry
Distinguish between standards,
alternative control surfaces and
input devices, and their influence on
performance
Resource
gathering
and team
work
Skills acquisition
and practice
2
2
0
2
2
2
2
6
8
4
8
8
Review works from a range of artists
in music genres that use analog
and/or digital sound synthesis
Be aware of the prevalent standards
used for the communication
between devices (control
voltage/gate, MIDI, Open Sound
Control) in a synthesis environment
Employ modular synthesis
techniques to manipulate (patch)
signal flow for experimental sound
design
Illustrate the underlying
architecture of electronic
synthesizers (i.e. modules,
components, connectivity), through
circuit diagrams
Use
analogue
tape/sound
manipulation techniques modelled
with digital technology for creative
School of Technology for the Arts, Republic Polytechnic
T218 Sound Synthesis
Page 3
and engineering applications in a
studio
Use a range of synthesis techniques
(including frequency modulation,
amplitude modulation, subtractive
synthesis, wavetable and granular
synthesis,
and
frequency
modulation) in creating original
sonic works
Apply critical listening when
synthesizing sounds for production
purposes
2
6
6
12
24
24
Discuss and compare synthesis
techniques, their processes and
acoustics results
Total = 15 Problems = 60 hours
TEACHING AND LEARNING
This module equips students who wish to pursue a career in experimental sound design
such as creating new sounds for music composition via various sound synthesis technique.
The module emphasises on hands on practical approach to learn a variety of sound
synthesis techniques. Students are encouraged to acquire knowledge of various sound
synthesis techniques with the use of both hardware and software.
The module is predominantly delivered via a problem based learning style curriculum.
However, up to 15% of the module uses a technical hands-on tutorials style curriculum. The
module is predominantly taught in a professional music studio.
LEARNING RESOURCES
Hardware synthesizer such as Doepfer, MiniMoog, Access Virus T1.
Software synthesizer such as Native Instrument Komplete instruments and Ableton Live
instruments, Propellerheads Reason instruments
School of Technology for the Arts, Republic Polytechnic
T218 Sound Synthesis
Page 4
Books:
Power Tools for Synthessizer Programming: The Ultimate Reference for Sound Design
Jim Aikin
ML74AIK2004
Music, Cognition, and Computerized Sound: An Introduction to Psychoacoustics
Edited by Perry R. Cook
ML3805MUS2001
Sonic Graphics / Seeing Sound
Matt Woolman
ML85WOO2002
MIDI Power!
Guerin
MT723GUE2002
The MIDI Manual
David Miles Huber
School of Technology for the Arts, Republic Polytechnic
T218 Sound Synthesis
Page 5