Laptop Musicianship
Semester 1 2012-13
Assessment Submission Details
MPA Writing Guide

Week 1
Practice basic file usage and recording in Logic.  Get used to copying files across, etc...

Week 2 Theme (Theory: Rhythm, tempo, note lengths and score editing) Music v sound design; sonic art Turner prize, Music and Sound Design: Broadcasting House, BBC Radio 4, 120930: start at 24 minutes Roles and Functions Logic: sampling, playing back and basic editing. Logic recording For next week compose a 20-60 second piece created using only recordings and edits of your own voice. Make sure you bring the project file as well as a bounce of the project. NB this is NOT an assessed item! Repertoire Monday lecture: Art of Noises Listening Luigi Russolo - Risveglio di una città [1914] Edgard Varese - Ionisation [1929-31] John Cage - Williams Mix [1952-53] Henri Pousseur - Scambi [1957] Luciano Berio - Omaggio a Joyce [1958] Merzbow - Woodpecker No. 2 [1999] Autechre - Vi Scose Poise [2001] Kim Cascone - Edgeboundaries 123 [2001] Reading Luigi Russolo - The Art of Noises [pdf] available from UbuWeb John Cage - The Future of Music: Credo in Cox & Warner, 2004, Audio Culture: Readings in Modern Music M. Russo and D. Warner - Rough Music, Futurism and PostPunk Industrial Noise Bands in Cox & Warner, 2004, Audio Culture: Readings in Modern Music Chad Hensley - The Beauty of Noise: An Interview with Masami Akita of Merzbow in Cox & Warner, 2004, Audio Culture: Readings in Modern Music Resources Hewitt, Chapters 4-5 Examples Exercises Bring in controllers for next week!
Week 3 Theme (Theory: Intervals and metre) Laptop orchestras - Princeton Laptop Orchestra - Stanford Laptop Orchestra @ Bing Concert Hall - Stanford Laptop Orchestra - Carnegie Mellon Laptop Orchestra (Dannenburg) Live coding: miniAudicle/Chuck, SuperCollider, Impromptu on Vimeo, A Study in Keith, ixi-quarks Live Coding in SuperCollider resources Rigs and interfaces Using the MIDI keyboard (parsing information) and other controllers; Various controllers and methods of communication; Mini-rigs, spatialisation; MIDI - Wii - game controller (HID) - OSC; Using Max to identify MIDI data easily (midiparse) - patch; All or one thing: approaches to software and hardware Logic sampling (EXS24 Sampler) Logic in performance Structuring compositions, improvisations, basic composing, using templates, or not... ABA', contrast... MaxMSP hi-midi router, text MaxMSP midi-info patch, text Logic software instruments Repertoire and Resources Musique Concrete, reduced listening and the early studios How rooted is this in the technology of the day? Listening Pierre Schaeffer - Symphonie pour un homme seul Jonty Harrison - Unsound Objects Delia Derbyshire - various works Reading Hewitt, Chapters 6-7 Peter Manning - 'Paris and Musique Concrete' in Manning, 2004, Computer Music Pierre Schaeffer - 'Acousmatics' in Cox & Warner, 2004 Delia Derbyshire - Examples Exercises for next week Each person to plan some rules for a short (ten minute max) improvisation for your group. You should plan each improvisation to last about 6-12 minutes. The suggested plan is for three sections, ABA, where A has a certain character, and B has a contrasting character. You should suggest and if possible implement specific ideas, events and features, using whatever software you think is appropriate. Feel free to use your own equipment. Next week you'll consider each of these plans when planning and performing your own group performances - we'll try and perform two contrasting items. In addition, consider some performance/interface scenarios (for instance, using a certain type of interface, such as the Microsoft Kinect, and how you might use it). Don't worry about practicalities; use your imaginations, but try and be specific about things you're insterested in investigating or trying out. Outline one or two of these and bring along next week.
Week 4 (Theory: Chords and melodies.) Composition Practice: 'melody' and 'accompaniment' Improvisation practice 1: bring examples of your own work, instruments, etc. You'll be expected to work in groups for the session. Group members may change. The sessions will not be assessed. Repertoire and Resources Musical appropriation and remixing Listening James Tenney - Collage #1 ("Blue Suede") Bernard Parmegiani - Du pop a l'ane John Oswald - Dab Reading Cutler - 'Plunderphonia' at Oswald - 'Plunderphonics, or Audio Piracy as a Compositional Prerogative' at Hewitt, Chapters 8-9 Other examples Exercises for next week
Week 5 Theme Roles and Functions Approaches to Composition and strategies Notations presentation Logic: Notation Repertoire and resources Elektronische Musik and the Cologne studios Listening Karlheinz Stockhausen - Kontakte Reading Peter Manning - 'Cologne and Electronische Musik' in Manning, 2004, Computer Music Stockhausen - 'Four Criteria of Electronic Music' [video] 'Stockhausen on Music: Lectures and Interviews' in Stockhausen & Maconie, 2000, pp. 88-111 Stockhausen - 'Artists Statements' in Collins & d’Escrivan, 2007 Hewitt, Chapters 10-12. Examples Exercises
Week 6 Theme Composition assessment session Logic: Sequencing - patterns and textures Introduction to Audacity Repertoire and resources Lecture Music on Film, Oramics, Parmegiani films Viewing Forbidden Planet The Day the Earth Stood Still Doctor Who (and the BBC Radiophonic Workshop) Delicatessen Examples Exercises For week 7 bring along a sketch of one of the themed compositions you're considering submitting.
Week 7 Theme Logic synthesis Composition assessment tutorials Theory: More on chords; Additive rhythm. Repertoire and resources Electronic Music II - Electronica New approaches to electronic music Listening Aphex Twin - Come to Daddy Brian Eno - Music for Airports Radio - Ideoteque Reading Stockhausen et al. - "Stockhausen vs. the Technocrats", in Cox & Warner, 2004 Eno - "Ambient Music" in Cox and Warner, 2004 Eno - "The studio as compositional tool" in Cox and Warner, 2004 Cascone - "The aesthetics of failure: Post-Digital Tendencies in Contemporary Computer Music" in Cox and Warner, 2004 Neill - "Breakthrough Beats: Rhythm and the aesthetics of contemporary electronic music" in Cox & Warner, 2004 Examples Exercises Within your groups plan two constrasting performances. Try not to be precise throughout, but try to include some areas where precise coordination between performers is necessary. Choose a compositional scenario. Include at least one aspect of clear and distinct contrast in your performance.
Week 8 Theme Improvisation session 2 w8 groups Benjamin Sugar 1 Roy Knouker 3 Aaron Sayers 1 Chris Dartnell 1 Jake Sparrow-Hunter 2 Ben Rickard 2 Pat Cotter 2 Sam Hopkins 1 Jimmy Morris 2 Adam Raw 2 Josh Brown 3 Daniel Wakenell 3 Josh Bates 3 Repertoire and Resources Process-based music Listening Steve Reich - Come Out, Pendulum Music Paul Lansky - Idle Chatter, just_more_idle_chatter, Notjustmoreidlechatter Alvin Lucier - I am sitting in a room Reading Reich - "Music as a Gradual Process" in Cox & Warner, 2004 Exercises For week 8 bring along sketches of the themed compositions you're considering submitting.
Week 9 Composition assessmnent session and tutorials Imogen Heap and the gloves TEDxBRISTOL 2011 - CREATIVITY SESSION - IMOGEN HEAP Kinect, ‘Magical Gloves’ Let Imogen Heap Turn Movement Into Music Video: Three minutes with Imogen Heap at Wired 2012 Repertoire and resources The use of natural sound materials and gestural archetypes Listening: Bernard Parmegiani - Dedans/Dehors Denis Smalley - Pentes Reading: Denis Smalley - "Spectromorphology: explaining sound-shapes", Organised Sound, 2(2), 1997 "Sound landscape" in Wishart, 1997 John Dack - Instrument and Pseudoinstrument. Acousmatic Conceptions at: Examples Exercises Within your groups prepare for next week's rehearsal. w10/11 groups Benjamin Sugar 3 Roy Knouker 1 Aaron Sayers 2 Chris Dartnell 1 Jake Sparrow-Hunter 1 Ben Rickard 3 Pat Cotter 3 Sam Hopkins 2 Jimmy Morris 2 Adam Raw 1 Josh Brown 2 Daniel Wakenell 3 Josh Bates 3 Adam Coller 2
Week 10 Theme Improvisation session 3: preparation for assessment Repertoire and resources Sonic transformation Listening: Trevor Wishart - Vox 5, Red Bird Michael McNabb - Dreamsong Reading: ‘Sound Landscape’ in Wishart, 1996 Examples Exercises Within your groups prepare for next week's performance, which will be assessed and become a part of your final mark for the class.
Week 11 Theme Improvisation session 4: assessment Repertoire and resources Generative music and chance operations Listening: John Cage - Fontana Mix Iannis Xenakis - La Légende d’Eer Reading: Xenakis - Légende d’Eer [DVD, including interview and images] Examples Exercises
Week 12 Documentation We review the written elements of the module, espectially in relation to the MPA writing guide. Please bring along drafts of your submissions for us to go over. Resources MPA writing guide _________________________________