You will be divided into a number of small orchestras. Each member of each orchestra is required to create a musical instrument. The group will then compose and perform music for these instruments. Marks will be awarded for imagination and technical ability, including performance skills as well as the visual appearance of the instruments. Include demonstration and documentation.
25%
2: Bioacoustics Project
In consulation with the Module Tutor, design, propose and implement a project based on one or more of the ideas behind bioacoustics. The nature of the project can be ecological as well as aesthetic, and should in any case include an ecological element - that is, a study of a certain acoustic soundscape and the interplay of sounds and sound-making objects within that enviroment.
It's important that you understand the range of opportunity here. On one level, there are forms of'pure' bioacoustics. These are based on ideas by Murray Schafer and Bernie Krause. Pure bioacoustics (my own term) is the archival and analysis of very specific ecological environments. In many instances there is a sense of urgency, as some of these environments are disappearing fast. Many have commented on the disappearance of the rain forests of South America, for example, but few have taken into account that the acoustic environments of these areas are disappearing too.
Bernie Krause, in particular, has noted how in natural undisturbed environments different groups of creatures come to inhabit particular sonic bands. If unnatural sonic disturbances occur, these bands are disrupted and if the disturbance continues for a time, the ecology suffers and changes as a direct result. There are examples where species have left a region due to chain-saw, or aeroplane sound, etc.
In general, the balance should be towards undisturbed recording and analysis of soundscapes, although a degree of creativity with regard to this presentation/analysis is fine. Examples might include a contrast between different soundscapes, an experiment in the moving of one soundscape into another (the sound of a wide open space into a busy area)...
Possible Projects
Pure bioacoustic recording, survey and analysis
Listening: environment details: trees, plants, elements, [Antarctic data jam]
http://en.wikipedia.org/wiki/Zoomusicology
The Computational Beauty of Nature
A written analysis should be included with your recording analysing and commenting on the following issues:
The precise details of your project/recording. So, for instance, location, time of day and any particular features;
If you are submitting two recordings for contrast then details of each should be included;
If your recording includes particular technical acheivements (for instance, recording trees, or bacteria), please include details of equipment used, designed, etc.
For more information concerning this sort of analysis please refer to Krause and Shafer (see below);
25%
Bibliography for Bioacoustics Project
Krause, B. L. (1998). Into a wild sanctuary : a life in music & natural sound. Berkeley, Calif., Heyday Books.
Foley, R. Humans before humanity : an evolutionary perspective, Oxford :
Blackwell, 1995 ([1997 printing]).
Rothenberg, D. and M. Ulvaeus (2001). The book of music and nature : an anthology of sounds, words, thoughts. Middletown, Conn., Wesleyan University Press.
Schafer, R. M. (1980). The tuning of the world : toward a theory of soundscape design. Philadelphia, University of Pennsylvania Press.
Dunn, D. (1999). Why do whales and children sing? : a guide to listening in nature. Santa Fe, Earth Ear.
Marler, P. and H. Slabbekoorn (2004). Nature's music : the science of birdsong. London, Academic.
Schafer, R Murray The Music of the environment
Schafer, R. M. (1967). Ear Cleaning notes for an experimental music course. [S.l.], Universal edition.
Clarke, E. F. (2005). Ways of listening : an ecological approach to the perception of musical meaning. New York ; Oxford, Oxford University Press.
In consultation with the Module Tutor, design a project based on an idea linked to Sonic Art, for instance a piece of installation art, a piece of music based on graphic notation or the pixel information, etc., included in a film, etc. Students will arrange an exhibition/concert during the semester in which they present their ideas publicly.
50%
Written Components
The Make Your Own and Individual projects should be accompanied by brief reports of approximately 100-200 words. The Bioacoustics project should be accompanied by a report of approximately 300-600 words.
Important information to bear in mind for all submissions
For applicable performances, we'll be using one of the M-Audio keyboards. Should you require the information - its eight pots probably use the following numbers:
74 71 81 91 16 80 19 2
(that is, these are the numbers that you should put into your route object if you're using MaxMSP to use the eight pan pots).
Remember that the laptop's screen size/resolution is different from the desktop computers'. Don't use the full screen of the desktop computers - keep things towards the upper left.
If you require any extra facilities, such as multiple microphones, you need to let me know.
There is a full list of performances/presentations here.
The Performance is an assessment occasion.
You will need to test your patch on the Department laptop if you are using it. Remember that the laptop's screen size/resolution is different from the desktop computers' and that the laptop is less powerful.
You are strongly advised to check any resources on as many machines as possible before this.
You need to let me or the technician know as soon as possible if you require any special resources.
You should be available for performance or exhibition at least 30 minutes before your projected slot.
You should be available for performance or exhibition until at least 30 minutes after your projected slot.
At the concert you will have five minutes to get yourself ready and perform. Please be punctual. Punctuality and fluidity will be factors in your assessment.
Physical Submission
You are required to submit the following on Thursday 10th May 2012, according to the usual submission rules:
A recording/demo of your composition/performance/exibition
This is not a replacement for the performance.
The Patches Themselves
...with the documentation specified below...
You should ensure that your patch has sufficient information available and is set-up so that it can be used effectively quickly and without problem. If necessary include notes that you have made regarding your own control of the patch during performance.
Documentation
All written, electronic documentation should be submitted in doc, text, or rtf formats (one only!).
Include a summary of what you meant to achieve and how you achieved it (or not). Include reasons for failures or successes and details of any information you would have found helpful on the course.
Include, ideally within the program itself (for instance, as comments or within a subpatch), a set of instructions concerning your program. Ideally you should detail each program function including menu items, command buttons, set-up requirements, etc. Imagine yourself to be someone who has never come across your program before and so will want to know, quickly and efficiently, what can and can't be done. It is in this regard that beta-testing is of considerable value.
Include a copy of any external object(s) used (that is, any object that is not a part of the most recent standard Max/MSP or SuperCollider Distribution). Include a reference to it and where it can be obtained originally.
CDs/DVDs
For reasons of economy and ease of use, please submit on CD if at all possible.
Your CD/DVD should be very clearly labelled with your name, student number and the course name.
Nothing should be stuck to the disc!
You should include amongst your documentation a clear list of everything that is on the CD.
Make sure that the information included on your CD is clear.
I do not wish to receive material on any other media, e.g., minidisc, zip disc, etc.