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• Outline
• Summary
• Outcomes

• Assessments
• Reading/Listening List
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1. Demonstrate a basic theoretical and practical knowledge of music technology related equipment and the principles underlying its operation.
2. Appreciate and discuss in an informed manner a wide variety of music and related issues arising from the influence of technology in musical composition.
3. Demonstrate appropriate critical levels of aural analysis.
4. Competently and creatively apply their understanding of these issues to their own practical work.

Assessment

Portfolio: 70% of overall mark

Seminar Presentation [weighted 30% of overall module]

1. Choose a piece of music from the listening list provided;
2. Once approved, engage in concentrated and repeated listening and identify what you think is the most important or striking characteristic of the piece;
3. Do some preliminary research about the composer and the piece, using the identified resources;
4. Describe, categorise and analyse what you hear, drawing on appropriate terminology (avoid subjective descriptions or overly technical language);
5. Develop a plan for your presentation, limiting yourself to two or three main points of observation;
6. Simultaneously, construct a graphic score of the piece (or sections of the piece) that will provide a clear visual guide to the points you are making;
7. Consider and prepare the technical aspects of your presentation;
8. Ensure you provide references for your sources.
9. Practice your presentation in front of an audience before presenting to the class
10. Remember the following tips:
    • use audiovisual aids such as the overhead projector, digital projector, presentation software, etc., where appropriate;
    • be prepared: make sure that all your examples and illustrations are ordered and work properly on the studio system;
    • distribute handouts if you think they may be relevant;
    • support your comments with examples; don't talk for more than 3 minutes without illustrating your points;
    • distribute your presentation equitably but sensibly between yourself and your partner.
    • address your audience: make eye contact, speak clearly and remember to smile occasionally!

Documentation

Submission

GOSLING James JAG187 0906129
HOLDER Nathan NAHH100 0602436
MANSFIELD Peter PM425 0902920
OWEN David DAO112 0921620
SAVEGE Anna AS862 0904798
SHEK Sarah SS929 0903241
SMITH Clara CS615 0902663
STYLIANOU Christos CS629 0908720
TZANAKAKI Dimitra DT304 0909941

Preparation
- Listen to some music, do some stuff...

- Search for 'Logic Pro 8 ' in:
Google, Scholar, Books, Image, Video,
University Library

Aims and Outcomes
- feel clear about course structure
- feel confident about using WebCT
- Contributes to outcomes 1,3,4,5

Focus
- Things to do first
- collect email
- Assessments

- Introduction to the course
- Understanding and using the computer
- Introduction to the Computer Workstation
- File Management
- Audio recording
- Digital mix-down (bounce)
- Composing with Logic Audio - 1
- Cut, Copy, Paste, Splice, Repeat

WebCT submission

In addition to providing an introduction to the use of the 
studio environment, these sessions will introduce the notion 
of the use of the 'noise' in electroacoustic music, which, 
in turn, will provide a platform for the initial development 
of aural analysis skills and the consideration of appropriate 
analytical terminology.

Follow-up
- tasks 1-3 (Max/MSP)

Listening
- Various - 10+2: 12 American Text Sound Pieces
- Luciano Berio - Omaggio a Joyce
- Jonty Harrison - EQ

Reading
- Luigi Russolo - The Art of Noises, in Cox & Warner (2004)


- Email comments
- Select and record text

Task 0 - Review
Write and email a review of one of the study works.
More details

Task 1 - Vocal Collage
Construct a short piece using originally recorded vocal 
'noise' sounds. Explore editing techniques covered in 
class.
More details

w3

part of portfolio

Preparation
- See Reading/Listening list
- Check that you are clear about 
Max/MSP external objects

Aims and Outcomes
- understand the idea of external objects
- use certain common methods in Max/MSP

- Contributes to outcome 1

Focus
- Check all emails are in

2: Composing with Logic Audio - 2
The Sound Object
- Audio editing
- Reverse, Trim, Transpose, Stretch
- Working with Regions


4: Composing with Logic Audio - 3
- Using the EXS24 sampler - 1
- Introduction to presentations


These sessions introduces two important approaches to 
music composition with technology; the notion of the 
'Sound Object' as developed under the so-called Musique 
Concrète school of Pierre Schaeffer; and the purely 
electronic approach developed by, among others, 
Karlheinz Stockhausen in the Cologne studios in the 
1950s.

These approaches provide important conceptual 
frameworks for discussion and will aid the development 
of the presentations.

Follow-up

Reading and Listening
Musique Concrète &
Elektronische Musik
Listening
- Pierre Schaeffer - Symphonie pour un homme seul
- Gyorgy Ligeti - Artikulation
- Karlheinz Stockhausen - Kontakte
Reference
- Stockhausen - Four Criteria of Electronic Music 
[in the 'Movie' folder on the studio computers]

Task 2 - The Sound Object 1
Construct a short piece exploring the notion of the 
'Sound Object' using ONE sound. You should explore 
the sound using both arrangements editing techniques 
and editing of the original sample.
More details

Task 3 - The Sound Object 2
Construct a short piece exploring the notion of the 
'Sound Object' using TWO sounds. You should allocate 
the sounds to the EXS24 sampler and explore a range 
of playback techniques.
More details

Select Presentations

w5

part of portfolio

Preparation
- Prepare!

Aims and Outcomes
- Understand!

Outline
Composing with Logic Audio - 4
Transformation
- Using the EX24 sampler - 2
- MIDI controllers: pan, volume, pitch-bend
- Effects

The important concepts of transformation and 
spatialisation are explored in these sessions 
and consideration is given not only to technical 
means by which these phenomena might be achieved, 
but also to the ways in which they can be explored 
as musical devices.

Follow-up
Reading and Listening
'Moving Sound Masses/Shifting Planes'
Listening
- Edgar Varèse - Poème électronique
- Trevor Wishart - Vox 5
Reference
- Varèse - The Liberation of Sound in Cox & Warner (2004)

Task 4 - Transformation
Construct a short piece exploring the notion of 
transformation. You should employ a range of techniques 
to explore both timbral transformation and spatialisation 
effects.
More details

Presentation Tutorials

task summary | WebCT

w7

part of portfolio (70%)

Preparation
- Prepare!

Aims and Outcomes
- Aim!

Focus
- Composing Revision
- Presentations

The emphases of the class sessions in the second half 
of the module are given over to the preparation of the 
presentations and to the development of the final 
composition. A range of material is introduced, explored 
and discussed with the expectation of the application of 
more highly developed aural analysis skills. Students 
are encouraged to explore particular techniques and 
musical phenomena in greater detail, and final 
compositions should represent a coherent and informed 
approach to the subject.

Presentations are supported by two tutorial sessions and 
students are encouraged to be imaginative in their 
preparation.

Follow-up
Be getting on with your final compositions.

Round and Round [...and Round]
Listening
- Steve Reich - Come Out
- Paul Lansky - Idle Chatter
- Alvin Lucier - I am sitting in a room
Reference
- Reich - Music as a Gradual Process in Cox & Warner (2004)

Environments - The Natural World
Listening
- Bernard Parmegiani - Dedan/Dehors
- Denis Smalley - Pentes
Reference
- R. Murray Schafer - 
The Music of the Environment in Cox & Warner (2004)

Transformation
Listening
- Wishart - Red Bird
- Michael McNabb - Dreamsong
Reference
- Wishart - Relevant sections of On Sonic Art, Wishart (1996)
Algorithmic and Chance Composition
Listening and reference
- Xenakis - Légende d'Eer [+ DVD presentation and interview]
- John Cage - Fontana Mix [+ MAX patch]

n/a

presentation: 30% of whole...

Preparation
- Presentations and Performances...

Focus
- Presentations and Performances...

Follow-up Work
- Project/portfolio work