Composer of acoustic, electro-acoustic and interdisciplinary works, Joseph Waters belongs to the first generation of classical composers that grew up playing in rock bands. Many of his works explore live performance and inter-active electronics. The performance elements include traditional acoustic instruments from around the world (such as compositions for the Chinese Zheng and Japanese Koto as well as traditional European instruments), electronics, "live" experimental film scores and performance art. He is composing an ongoing series of duets for solo virtuoso acoustic instrumentalist with live electronic accompaniment as well as works for ensembles of all sizes — chamber to symphonic.

He has presented and performed his works in Russia (Alternativa Festival at Composer's Hall — Moscow Conservatory), China (International Computer Music Conference — Tsinghua University, Beijing), Spain (Festival Internacional de Musica da Cadiz — University of Cadiz), Hungary (Music of Our Century Festival — Budapest) and (International Summer Meeting of Electro-Acoustic Music — Nadasdy Castle, Sarvar), Mexico (Festival Internacional de Arte Sonoro — Mexico City) Hong Kong (Festival of Chinese Arts — Hong Kong Cultural Center), Cuba (International Computer Music Conference — Habana), Argentina (Ensemble Rosario — Rosario), Australia (Australasian Computer Music Conference — Melbourne and Perth), The Netherlands (Theater Kikker — Utrecht), New Zealand (Bomb the Space Festival — Wellington) and throughout the U.S.A..

Dr. Waters is Professor of Music and Director of Electro-Acoustic and Media Composition at SDSU, where he runs the Electronic Music Studio, the Digital Recording Facility, and oversees the Computer Lab. He joined the SDSU faculty in fall 2001. Under his direction, the electro-acoustic and media composition program is designed to promote a rigorous, inclusive and creative atmosphere. Throughout the six semester electro-acoustic music sequence a hands-on approach is utilized that places emphasis on the creation of original works of musical art in a broad range of genres and styles. Within this context a thorough introduction to the art, technology and science of electro-acoustic music is offered.

In addition to his activities as composer and teacher, Dr. Waters is Artistic Director of NWEAMO (North-West Electro-Acoustic Music Organization). NWEAMO organizes an annual international electro-acoustic music festival whose aim is to foster connections between the classical electro-acoustic avant-garde community and the community of composers working on the experimental edge of popular music.

Classes:

Six Semester Electro-Acoustic Music sequence:

General Description:

Composition: Above all else these are courses in music composition. Although the information presented in class is often highly technical in nature, the primary focus is on the creation of works of musical art. Diversity of style and approach is encouraged.

This is a hands-on approach, emphasizing learning through using technology to create actual works of music. Each week a new concept, either aesthetic or technical in nature, is presented in class. There is a creative assignment (a short composition) based on this material that is due the following week. Students play their creations for each other in class each week. These are critically listened to, analyzed and discussed from both technical and compositional points of view. Emphasis is on nurturing a warm, supportive environment for creativity, coupled with a striving for technical and aesthetic excellence.

History: In addition, throughout all semesters of the sequence there is an ongoing survey of masterpieces of the electro-acoustic literature. Works studied range in style from the classical avant garde to fringe movements and works on the experimental edge of popular music.

Concert Attendance: There are several concerts each semester, of relevance to the course material, to which attendance is required

Final Composition Project: The culmination of the course is a final composition project, of significant scope, presented at a concert. Attendance is mandatory and the public is invited.

Add Codes: These may be obtained from Dr. Waters on the first day of class. They are not available online.

Semester 1. MUS 160: Introduction to Electronic Music (Fall)

This is the 1st semester in the Electro-Acoustic and Media Composition sequence. There are no prerequisites and the course is designed to provide a gateway into the subject to students coming from diverse backgrounds. No knowledge of traditional music is assumed, and the course is designed to be both accessible and challenging to musical novices as well as students with musical sophistication. The first semester concentrates on the following areas:

1) general history of the classical avant-garde
2) introduction to MIDI
3) sequencing
4) musical form and materials analysis applied to various genres of rock music (Reggae, Hip Hop, House etc.)

prerequisites: none

Semester 2. MUS 260: Electro-Acoustic Composition I (Spring)

This is the 2nd semester in the Electro-Acoustic and Media Composition sequence. The 2nd semester concentrates on the following areas:

1) basic principles of acoustics
2) basic principles of digital audio
3) musique concrète (sampling)
4) subtractive synthesis
5) on-going exploration of classic and contemporary electro-acoustic literature in many styles.

Prerequisite: MUS 160 — NO Exceptions

Semester 3 & Semester 5. MUS 360: Electro-Acoustic Composition II (Fall) (This is taken twice for credit.)

This comprises both the 3rd semester and the 5th semester in the Electro-Acoustic and Media Composition sequence. The 3rd/5th semester course concentrates on hard-disk recording, centered on the Pro-Tools platform and ancillary software. The following subject areas are included:

1) basic recording
2) editing
3) sweetening
4) mastering
5) creative sound design
6) on-going exploration of classic and contemporary electro-acoustic literature in many styles

Prerequisites: MUS 160, 260 — NO Exceptions

Semester 4. MUS 460: Electro-Acoustic Composition III — The Art of Recording (Spring)

This is the 4th semester in the Electro-Acoustic and Media Composition sequence. It takes place every other year, and toggles with MUS 560. As in all aspects of the sequence, the overriding emphasis is on composition — upon using musical technology to create original works of art. The 4th semester combines all the techniques that are introduced in the first three semesters, and combines these with techniques involved in the recording of acoustic instruments. The following subject areas are included:

1) microphone design, construction and characteristics
2) microphone recording techniques, from classical through rock
3) recording studio design and acoustics
4) compositions involving live acoustic instruments in combination with electronic instruments and sound design
5) on-going exploration of classic and contemporary electro-acoustic literature in many styles

Prerequisites: MUS 160, 260, 360 — NO Exceptions

Semester 5. (Please see above) MUS 360: Electro-Acoustic Composition II (Fall) (This is taken twice for credit.)

Semester 6. MUS 560: Electro-Acoustic Composition IV — Music and Visual Media (Spring)

This is the 6th semester in the Electro-Acoustic and Media Composition sequence. It takes place every other year, and toggles with MUS 460. As in all aspects of the sequence, the overriding emphasis is on composition — upon using musical technology to create original works of art. The 6th semester combines all the techniques that are introduced in the first 5 semesters, and combines these with techniques involved in the combination of music and visual media. The following subject areas are introduced:

1) Film Scoring
2) Video Game Scoring
3) Immersive Virtual Reality
4) on-going exploration of classic and contemporary electro-acoustic literature in many styles

Prerequisites: MUS 160, 260, 360 — NO Exceptions

OTHER COURSES:

Composition Laboratory (Neolithic Orchestra) (Spring)

You are a member of a group of shamans. The group is overwhelmingly and passionately intrigued by the powerful communicative and magical properties of sound — and avid experimentation is proceeding apace. A new group activity, involved with making sound, as yet unnamed, is beginning to percolate throughout all daily activities. At times this culminates in extended periods where sound-making, with attendant bodily movement, becomes the sole pre-occupation of the group.

The goal of this course is to de-construct music — to strip it of all conventions and presumptions that have arisen from the diverse cultural milieus in which it has evolved over the past several thousand years — and then build it back up again atom by atom.

This is, of course, not really possible. However, through the attempt to bring music back to its Neolithic origins we can become aware of some of the prejudices toward form, construction and style that we unknowingly harbor and even take refuge in. Awareness, in turn, allows us to be free of these prejudices, to see them from the outside, and to embrace or dismiss them within a broader context. Freedom allows us to see new connections, creative possibilities and avenues for growth. This is imperative for all composers who seek to contribute meaningfully to the evolution of the art.

The class involves instrument building and composition. It starts with a survey of the earliest musical instruments and elements of instrument design. Students then design and build their own instruments, explore their sonic potential, learn to play them, and create an orchestra comprised of them. They compose a series of works for the orchestra and present a public concert.

The goal is to investigate powerful, basic ideas — and also to have fun!

Individual Composition Lessons (Fall)

MUS 104: Music Technology I (Computer-based music transcription)

MUS 204: Music Technology I (Computer-based music transcription)