UNIVERSITY OF ILLINOIS ELECTRIC ORCHESTRA
Inaugural concert will be Sun, Nov 17, 2024, 7:30 PM, Smith Recital Hall, Urbana, IL
Rudolf Haken, Director • rlhaken@illinois.edu
FOR INFORMATION ON ELECTRIC strings lessons and degree programs, VISIT https://music.illinois.edu/electric-strings
electric Orchestra SYLLABUS – FALL 2024
MUSC 458 • Section A • CRN 76480 • Credit: 1 hour
Instructor: Rudolf Haken rlhaken@illinois.edu
https://courses.illinois.edu/schedule/2024/fall/MUSC/458
Note: Currently MUSC 458 A is listed as “Electric Strings Ensemble”.
Course name change to “Electric Orchestra” is underway. Course number, section, and CRN will remain unchanged.
Krannert Center Orchestra Rehearsal Room (2310 KCPA)
Tuesdays and Thursdays 8:00 AM - 9:50 AM.
(See #6 below for adjustments to class time for audio engineers, sound designers,
stage crew, marketing team, and composers / arrangers.)
1. Eligibility: Open to music majors and non-majors playing electric strings, woodwinds, brass, percussion, and keyboards; audio engineers; sound designers; composers and arrangers, marketing and management students, and conductors. One (1) undergraduate hour. One (1) graduate hour. May be repeated in separate terms. Prerequisite: Consent of instructor. Please email Prof. Rudolf Haken rlhaken@illinois.edu with questions. if you are considering joining the electric orchestra or have questions, Please fill out the form at the bottom of this web page.
2. Course structure: The University of Illinois Electric Orchestra (UIEO) performs standard orchestral works as well as new and traditional music in a great variety of genres. All stringed instruments and keyboards in the ensemble are electric. (Electric Strings Registered Student Organization has a collection of electric bowed instruments available for use. See #7A below.) Winds, brass, and percussion have the option of using MIDI instruments (such as EWIs and drum machines) or acoustic instruments, optionally fitted with clip-on mics.
3. Learning objectives: Orchestra members gain experience with ensemble performance on electric instruments, as well as conducting, composition, program planning, audio engineering, sound design, and stage management.
4. Research objectives: All students in the course are involved in what constitutes an important research project - achieving the best audience and performer experience in an electric symphonic setting. Research topics include:
a. Achieving a cohesive, organic sound with sections of electric stringed instruments, with the same degree of nuance and range of tone colors found in an acoustic string section. To this end, the electric orchestra can serve as a laboratory for sound designers collaborating with string players. As a starting point, there are already impulse response products on the market that allow an individual electric bowed instrument to mimic the sound of a single acoustic instrument, for example these IR’s by 3 Sigma Audio https://www.3sigmaaudio.com/items/category/violins-violas/ Use of this technology for a string quartet (with one instrument per part) is demonstrated in this video https://www.youtube.com/watch?v=jHaMFNqaijY However, a large symphony orchestra will often have 12 violinists simultaneously playing exactly the same music, an effect that we will work on duplicating with a much smaller group of electric violins, for performing Classical and Romantic symphonic repertoire. The following video demonstrates methods of creating the illusion of multiple instruments in a rock setting. https://youtu.be/FO5sPBfrDo0?si=5OSejTIPQk5brhsU We can use these techniques as a springboard for developing an orchestral string sound.
b. Integrating traditional acoustic wind instruments, amplified winds, and MIDI wind controllers into an electric strings environment, experimenting with settings, effects, and playing styles.
c. Developing ideal stage setups for rehearsals and performances. With the advent of electric instruments, it is no longer necessary to organize orchestral sectional seating in a way that ensures all instruments are easily heard by the audience. Instead, instruments can be placed in formations ideal for musical communication.
d. Using mixers and monitors. Hearing your own playing while also obtaining a clear audio picture of the ensemble is a challenge for both acoustic and electric ensembles. However, the means to achieving this in an electric orchestra are quite different from in an acoustic orchestra, and will take experimentation and discussion. Ideal placement of stage monitors, as well as the balance of channels fed into each monitor, will be determined by the audio engineering team in coordination with performers.
e. Composing and arranging music specifically for an electric orchestra.
f. Conducting and directing rehearsals in the most effective way for an electric orchestra setting.
g. Developing a public image for electric orchestras. “Selling” this idea to audiences, fellow musicians, educators, and youth orchestra students is key to its success, and will require the work of a marketing team enrolled in the class.
5. Audio engineers and crew members: the class is in need of audio engineers to mix rehearsals and performances, as well as crew to set up and tear down before and after each class Tuesdays and Thursdays. Keep in mind that setting up chairs and stands is only a small portion of setup and tear-down. The process involves placing cables and monitors before each rehearsal (and putting them away neatly afterwards), and being sure levels are consistent and well-documented.
6. Alternative class times. Commitment to the class is a total of 3 hours and 40 minutes per week. While the default is Tuesdays and Thursdays 8:00 – 9:50 AM, several alterations to this schedule will be possible if necessary, FOR EXAMPLE:
a. Crew members are needed Tuesdays and Thursdays 7:20-8:00 AM for setup, and 9:50-10:30 AM for teardown. After consultation with Prof. Haken, students may, for example, fulfill their class obligations by serving on setup crew 7:20-8:00 AM, then playing in the orchestra from 8:00-9:10 AM; or playing in the orchestra from 8:40-9:50 AM and serving on the tear-down crew from 9:50-10:30 AM. Making these arrangements will be a complicated process as it influences rehearsal schedules for various repertoire. Therefore, it is best to indicate to Prof. Haken as soon as possible if you are interested in such an arrangement.
b. Audio engineers will by-and-large be needed during the regular rehearsal time Tuesdays and Thursdays 8:00 – 9:50 AM. However, there may be certain specific work to be done outside of this regular class time, for example the development and implementation of impulse responses and effects for the ensemble, or training new students in the use of equipment, or making minor repairs to equipment. This work will count toward the 3 hours and 40 minutes of weekly commitment, but must be previously agreed upon with Prof. Haken, and documented in detail.
c. Sound designers will work with sections of players as well as individual musicians to create impulse responses and virtual instrument models. Presumably most of this work will take place outside of regular rehearsal times. It will count toward the 3 hours and 40 minutes of weekly commitment, but must be previously agreed upon with Prof. Haken, and documented in detail.
d. Composers and arrangers are needed for developing and adapting music specifically for this ensemble. For example, we will be working with public school hip-hop groups whose beats need to be transcribed; we will have cello parts played on seven-string violins that need to be adapted to those instruments; we will have unpredictable numbers of wind players and will need music adapted quickly. This work can be done any time during the week and still count toward the 3 hours and 40 minutes of weekly commitment, but must be previously agreed upon with Prof. Haken, and documented in detail.
e. Marketing and management staff are needed for publicity, social media, arranging and negotiating performance opportunities, outreach, interviewing orchestra members for podcasts, and interfacing with educational and community programs. This work can be done any time during the week and still count toward the 3 hours and 40 minutes of weekly commitment, but must be previously agreed upon with Prof. Haken, and documented in detail.
NOTE ON CLASS REGISTRATION: The registration system will block you from enrolling in two classes that have overlapping meeting times. If this happens, email Prof. Haken at rlhaken@illinois.edu for an override approval letter, which you'll submit with the following form; https://forms.illinois.edu/sec/7803287?referrer=https://shibboleth.illinois.edu/
7. FOllowing Equipment is provided by ns design, Krannert center, School of Music, and electric strings Registered Student Organization:
a. Electric violins, electric violas, electric cellos, and electric basses available on a priority basis. Please let Prof. Haken know if you’d need an instrument, and we’ll see what’s available.
b. 32-channel / 46-input analog mixer (Midas Venice 320).
c. Roland Aerophone Plus MIDI wind controller.
d. MIDI keyboards
e. Pearl EM1 malletSTATION