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The Musical Web

Tommy Martinez, Chloe Alexandra Thompson
September 18, 2023 to November 27, 2023 (10 classes)
Mondays, 7-10pm ET
Online (Zoom)
$1200 Scholarships available learn more...
Applications closed on August 11, 2023

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How can emerging web technologies inspire new, and more connected musical experiences? With so much of our listening being mediated by streaming platforms, social networks, and virtual environments, it is exciting to imagine the wild shapes that music might take under these strange new circumstances. In this 10-week class, participants will work with a variety of tools to build interactive, spatial, and generative sound pieces online. Classes will unfold through discussion, sharing, and hands-on lab time. Approximately half of the course will focus on composition and sound design exercises to accompany the coding examples. These lessons will include field recording, sampling, and digital synthesis techniques. Participants will work each week to build their own web-based sound pieces while collectively imagining what music can look like on the world wide web. The course will be taught primarily in p5.sound, Web Audio API, and Max MSP though other tools will also be explored. While some experience working with HTML, CSS, and Javascript is required, we welcome all experience levels. If you have any doubts about the required skills coming into the class, reach out to us before applying.


Course of Study

  • Week 1 - New Experiments: How are musicians and sound artists currently working with web technologies in inspiring ways? What are the possibilities and challenges of working in this medium? In this class we will explore these questions and set up our programming environment.
  • Week 2 - Tone Poems, Synths and Effects: We will work together to investigate synthesis and signal processing through building FM / subtractive synthesizers, as well as integrating simple audio effects.
  • Week 3 - Field Recording, Sampling and Collage: In this week we will look at field recording and sampling techniques. We will use pre-recorded sounds, or collect some from our home and collage them on a web page.
  • Week 4 - Compositional Strategies: Arrangements and Timing: Sequencing and using timing for the tools we have built.
  • Week 5 - Publishing: Wait, how does the web work? In this class we will learn to publish our websites to the web and learn about the history of the world wide web.
  • Week 6 - The Platform: In this week we will discuss popular music platforms for musical distribution and the support or problems they pose for musicians. We will envision our own smaller platforms and distributional methods.
  • Week 7 - Virtual and Web Based Performance: In this week we will discuss the work of performers and composers who have used the web (or some form of it in their work). We will use our own websites as tools for live performance.
  • Week 8 - Network Magic: We will look at socket programming to build multi-participant networked musical experiences.
  • Week 9 - Unknown Futures: How artists and collectives are using what have become known as Metaverse technologies and Web3, automated code generation and machine learning to imagine new distributional methods.
  • Week 10 - Final Presentations: In this class we will share final projects and present or perform our musical web works.


We expect that participants attend with an open mind and are willing to try out new forms of working both collaboratively and independently. We aim to set up an environment where participants feel empowered to ask questions, but understand that this can be challenging when people are working with new technologies or creative modalities for the first time.

Time & Workload
  • There are weekly experiments and exercises, which appear to result in deliverables, but there is not a grading system in our coursework. We hope that these experiments provide a structure for you to grow and explore your own practice, with new tools, ideas or inspiration.
  • There is a final presentation to share back what we learn together. This exercise does not need to include work from every module, it is there for you to work towards a goal of focus and have an opportunity to share your work. With consent this will be featured on a public website for others to explore and learn from as well!
Technical Experience

The course will be taught primarily in p5.sound, Web Audio API, and Max MSP though other tools will also be explored. While some experience working with HTML, CSS, and Javascript is required, we welcome all experience levels. If you have any doubts about the required skills coming into the class, reach out to us before applying.

  • Mac or Windows Computer, access to the web.
  • Sound Recording Device (can be a phone!)

Is this class for me?

This class may be for you if:

  • You are an artist and want to expand your practice to include web based music.
  • You are a coder / designer and want to expand your practice to include composition and sound art.
  • You want to spend 10 weeks thinking about form in a different way.

This class may NOT be for you if:

  • You are looking for a coding bootcamp.

Meet the Teachers


Tommy Martinez

Tommy Martinez is an artist and programmer working primarily through research, sound and code. He creates software and musical systems for the internet, embedded devices, and for live multichannel performance. Martinez has performed at MoMA PS1, The DiMenna Center for Classical Music, Fridman Gallery, and Pioneer Works. He has lectured on sound and electronic art at School for Poetic Computation, UC Berkeley, Stanford University, and NYU.

he/him · website · twitter · instagram


Chloe Alexandra Thompson

Thompson is a Cree, Canadian, interdisciplinary artist and sound designer. Thompson approaches sound as a mode of connection—embracing the kinesthetic agency of sound to compose abstract feats of spatialized audio recording and synthesis. Her work engages tactics of material minimalism to create site-specific installations that sculpt droning, maximalist experiences out of space and sound. Using audio programming software, computational processing, and acoustic instruments, Thompson’s work seeks to create connection by guiding audience participants through these augmented experiences.

she/her · website · instagram


Our programs are conducted in spoken English with audiovisual materials such as slides, code examples and video. Online programs are held over Zoom.

Please take care and be well. We hope you are comfortable in your housing, living, and working situation in general. Never hesitate to ask us for advice and reach out if you have accessibility requests or need any assistance during your time at SFPC. We will work closely with you towards co-creating the most accommodating learning environment for your needs.

reach out with questions about access...

How do I apply?

Apply Now

How do you use tools, technological or not, to express yourself?

Applications open until Applications closed on August 11, 2023.

You can expect to hear back from us about the status of your application on August 25, 2023. Please email us at with any questions you have.

more about what we look for in participants...

How much does it cost to attend?

For 10 classes, it costs $1200 + processing fees, for a one-time payment. We also offer payment plans. Participants can schedule weekly or monthly payments of the same amount. First and last payments must be made before the start and end of class. *Processing fees apply for each payment.

SFPC processes all payments via Withfriends and Stripe. Please email if these payment options don't work for you.

Upon payment, your space in the class will be reserved. We offer scholarships for those who cannot pay full tuition. Read more about scholarships below.

I can’t pay for SFPC. Can I come at a reduced rate, or for free?

If you can’t pay full tuition, we really still want you to apply. Our application will ask you how much you can pay. We will offer subsidized positions in all of our classes, once each one has enough participants enrolled that we’re able to do so.

We have also started a scholarship fund, and we will be offering additional scholarships as community members redistribute their wealth through SFPC. We direct scholarship funds towards participants who are low-income, Black, Indigenous, racialized, gendered, disabled, Queer, trans, oppressed, historicially excluded and underrepresented.

Right now, tuition is SFPC’s main source of income, and that is a problem. It means that we can only pay teachers, pay for space, and organize programs when participants pay full tuition to attend. Tuition is a huge barrier to entry into the SFPC community, and it disproportionately limits Black participants, indigenous participants, queer and trans participants, and other people who are marginalized, from participating. Scholarships are not a long term solution for us, but in the short and medium term we hope to offer them more while we work towards transforming SFPC’s financial model.

How can I help others to attend SFPC?

For SFPC to be the kind of place the community has always meant it to be, it needs to become a platform for wealth redistribution. If you are a former participant, prospective participant, or friend of the school, and you have the financial privilege to do so, please donate generously. There is enough wealth in this community to make sure no one is ever rejected because of their inability to pay, and becoming that school will make SFPC the impactful, imaginative, transformative center of poetry and justice that we know it can be.

What if I can’t go, can I get a refund?

  • Yes, we can give you 100% refund up to 10 days before class starts
  • 50% refund after 10 days, until the first day of the class
  • No refunds can be given after the first day of the class

Interested in more learning opportunities at the School for Poetic Computation? Join our newsletter to stay up to date on future sessions and events, and follow us on Instagram and Twitter. Support our programming through scholarships. Get in touch over email.