|Timetable 2017-18, semester 1
Richard Hoadley's office hours
(teaching weeks only)
|Music and Technology is designed as an introduction to the concepts, methods and basic practicalities of the use of technology in the composition of music. Using digital audio workstations, students learn to apply principles of acoustics and computer-based sequencing within the context of a wider understanding of the historical and aesthetic issues relating to the composition and practice of technology-based music. The major activity of the module is the preparation of an original composition utilising various techniques. This is approached via a number of prescribed tasks designed to lead the student systematically through the processes of computer operation. Students become familiar with a range of musics and techniques through detailed step-by-step explanation and hands-on experience in class. The module also includes lectures, demonstrations and discussions of a wide range of technology-based music and associated topics with the aim of encouraging students to question and examine their traditional conceptions of sound and music. Much emphasis is placed on the ability to analyse music aurally. Students must also deliver an oral presentation on a prescribed piece of technology-based music with a view to identifying and discussing the various compositional techniques used. This is accompanied by detailed graphic score devised by the student.
On successful completion of this module you will be able to:
Portfolio: 70% of overall markTasks (50% of Portfolio) The three highest scoring tasks from the list below will make up 50% of the portfolio, the final composition making up the other 50%.
Task 1 - Vocal Collage
Construct a short piece using originally recorded vocal sounds. Explore editing techniques covered in class, such as cutting, copying, pasting, moving... More details
Task 2 - The Sound Object 1
Construct a short piece exploring the notion of the 'Sound Object' using ONE sound. You should consider allocating the sounds to the EXS24 sampler and explore the sound in both the Arrangement and Sample editors. 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
Task 4 - Moving Sound - using volume and pan controllers and effects, etc.
Construct a short piece exploring the notion of moving sounds. You should employ a range of techniques to explore spatialisation effects and timbral transformations. More details
All tasks should be of between 20 seconds and one minute in duration.
Final Composition (50% of Portfolio)
This takes the form of an original composition that should demonstrate technical understanding, practical proficiency, detailed application and musical understanding of the topics covered, realised in a creative and sensitive manner. Extra marks may be awarded for successful implementation of musical techniques not covered in class time. Credit will also be given for good presentation. The composition must be accompanied by a short write-up that will include technical details about your piece (including identification of the relevant file names) drawing attention to any compositional processes that may not be immediately apparent. This may be a useful document for you to consider.
The Final Composition should be of between two and five minutes in duration.
Memory Stick/Thumb Drive
Bounce file [final mix of composition], composition write-up (as .txt, .doc or .rtf file), you may find it useful to include screenshots of your Logic Project.
Seminar Presentation [weighted 30% of overall module]
Documentation Each task must be accompanied by sufficient documentation to ensure smooth demonstration of the task.
Each project (not task) must be accompanied by a short commentary (approximately 200 words maximum) in text outlining your goals, achievements and experiences.
All documentation should be submitted in electronic form. You may submit in non-electronic form, but an electronic form should always be supplied. You will incur a 5% penalty should you not comply with this rule.
The final deadline for final submission of all material is Tuesday 19th December 2017. Final submission will be to the i-Centre.
Katharine Norman: Making Place - presentation in week 9 Anthony Arellano Thomas Coates
Ryoji Ikeda: Spectra - presentation in week 10 Camila Valerio Emma Foreman
Alva Noto: unitxt/univrs - presentation in week 10 Kate Holmes Sarah Mead
Zimoun: Your choice of two or more works - presentation in week 11 Leo Oakley Michal Polak
David Hall: This is a Television Receiver - presentation in week 11 Madeline Soan Wanyuan Yang Han Li
Preparation - Listen to some music, do some stuff... - Search for 'Logic Pro 8 ' in:
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 Logic recording 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. - Exemplars of previous submissions... - Criteria for assessment: Creative Work and Oral Presentation
Follow-up - Practice using Logic!
Listening - Paul Lansky Idle Chatter - Various - 10+2: 12 American Text Sound Pieces - Luciano Berio - Omaggio a Joyce - Jonty Harrison - EQ - Jonty Harrison - Surface Tension Reading - Luigi Russolo - The Art of Noises, in Cox & Warner (2004) Task 1 - Vocal Collage Construct a short piece using originally recorded vocal 'noise' sounds. Explore editing techniques covered in class. More details Experiment with Lynda.com tutorials. See especially Logic Pro X Essential Training.
part of portfolio
Focus 2: Composing with Logic Audio - 2 The Sound Object - Audio editing - Reverse, Trim, Transpose, Stretch - Working with Regions 3: Composing with Logic Audio - 3 - Using the EXS24 sampler - 1 - Introduction to presentations Logic - sampling Logic - transformations 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.
Reading and Listening Musique Concrete & Elektronische Musik Listening - Jonty Harrison Klang (example of piece with very limited sonic material) - Stockhausen - Four Criteria of Electronic Music Task 2 - The Sound Object 1 Construct a short piece exploring the notion of the 'Sound Object' using ONE sound. You should consider allocating the sounds to the EXS24 sampler and explore the sound in both the Arrangement and Sample editors. 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
part of portfolio
Outline Composing Transformation Roles and Functions Approaches to Composition Logic - sequencing Logic - notation
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 - Moving sound Construct a short piece exploring the notion of transformation and movement of sound. You should employ a range of techniques to explore both timbral transformation and spatialisation effects. More details Presentation Tutorials
part of portfolio (70%)
|7i, 8i, 9i, 10i
Focus Logic synthesis - 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.
presentation: 30% of whole...
Preparation - Presentations and Performances...
Focus - Presentations and Performances...
Follow-up Work - Project/portfolio work
|- Final Composition More details
|- Presentations and Performances...