An investigation into perceived relationships between sound and colour, including a practical implementation.
Abstract:
50%/50%
-
Andrew Davis
An investigation into the use of sub-bass and ultrasound in music. (Not approved.)
Abstract:
50%/50%
-
Joshua Hunnisett
An investigation into the design and application of an audio oscillator system, driven by light, patterns and rotation.
Abstract:
50%/50%
-
Will Railton (TH)
An exploration of algorithmic generative composition (not approved).
Abstract:
50%/50%
-
Andrew Rogers
Project involving the use of portable video technology to control audio processing (not approved).
Abstract:
50%/50%
-
Django Widdowson-Jones
A study of audio graffiti .
Abstract:
50%/50%
-
2008-9
Name
Title/Area
Practical/Written Weighting
Chats
Benjamin Anderson
An Interactive Installation Exploiting Physical Control by Non-Expert Members of the Public of a Number of Independent Computers.
Software design and performance using interactive tools such the Wii Remote.
Exhibition piece specifically for the public to use. Use Wii only. The user only being able to interact.
50%/50%
lots
Richard Carrigan
No Title
Using methods of physical computing to perform and diffuse electronic msuic ambisonically.
-%/-%
-
Krisztian Hofstadter
Investigate the use of EEG data for the purposes of sonification in a creative environment
Music Programming: Use of physical device (EEG), biofeedback to control sound & visuals; research into how a variety of sound/music has a reflection on the human mind; design a software (using MaxMSP) to help perceiving/analysing brainwaves.
1. Hardware/software configuration and examples - 60%
2. Commentary - 40%
60%/40%
-
Ciaran Moriarty
None
To use motion tracking in MaxMsp/Jitter to trigger a virtual instrument, including a visual representation of the virtual instrument and the trigger. To enable virtual instruments to be played like a real instrument with no physical presence of the instrument.
1. Hardware/software configuration and examples - 50%
2. Commentary - 50%
50%/50%
-
William Olney
Freehand: The Development of a Human Computer Interface utilising the Wiimote and MaxMSP to Control Musical Change Through Movement
To study and investigate immersive video games and their musical influences and psychological effects. Ambient music and its relation to social environments. Immersive multimedia. Development process of immersive environments.
Implementation of an FM Synthesis system Controllable by Guitar
To create a performance environment where I can explore FM synthesis using guitar as a controller.
070927, 071011, 080211
Scott Coe
-
Sonar and Light (not officially registered)
-
Tom Kelly
-
Indian Rag...
080211
Simon Fairchild
Traditional and Contemporary Methods for Rhythm Production Using Turntables
Demonstration of examples and a final composition of techniques in scratching from turntables
070927, 071004, 071011, 080131
Robyn Farah
Installation: Foreign noises within an environmental soundscape.
-
071004, 071011
Vicky Harrison
The relationships between Sound, Image and Human Physiology and a reflection of this research as a Sound-based Art Installation
Sensors will read the heartbeat of the user. The user will then be shown a series of images to which the reaction of the heart beat will be presented as a musical outcome.
How visuals affect emotional states reflected by musical parameters via biofeedback sensors. This will be performed as a piece of art which will research the psychology of how people get stuck in loops of events in their lives because of cognitive thought patterns. This project will demonstrate mental rehearsal (using thoughts to deliberately manipulate the body) as a strategy to show the effect of what I'm mentally visualising.
070927, 071012, 080222
Steve Lindup
Site specific
Installation: Reacting to People Moving in a Room
071011, 071108, 071115
Tychonas Michailidis
A Series of Compositions Investigating the Use of This and That
Music Psychology Survey
071005, 071012
Joe Nicholson
-
To investigate the use of and modify unordinary (??) electrical devices, using them to control/produce/manipulate sound. This will ultimately lead to a prototype electronic instrument with user interface.
070927, 080211
Rhys Perkins
Algorithmic Breakbeat Cutting with Chuck.
Algorithmic Breakbeat Cutting with Chuck.
071004, 071115
James Vanden Bosch
-
I intend to create a new human interface as a controller for software developed in MAX/MSP.
080220
N.B. You are all invited to attend tutorial slots, but if you do so you must have prepared something for us to look at.
If you feel that you do not need to attend that is fine, but please let me know in order to release the time for those who feel that they need it...
Please come a little early if possible and be prepared to wait a little if necessary.
Summary
The Major Project is an opportunity for you to explore your degree subject beyond the
confines of taught modules and to pursue a topic that particularly interests you. It is a vital
part of your programme as you will need to pass this module to gain an Honours degree.
You will be assigned an advisor to help you formulate a title and a supervisor to offer
guidance for your project work, but you are ultimately responsible for creating the conditions
for your own success in the Major Project.
The key to success lies in planning and following a realistic schedule for formulating,
researching and completing your project within a strict timescale.
Content
Major Projects in Creative Music Technology should conform to the following model:
- The final submission will take the form of a portfolio containing the composition(s) or
actual outcome of the project. This should be accompanied by a written element of
not less than 2000 words and should be in three sections, as follows:
Part 1 - Plan/rationale
You should detail the nature of your project, explaining not only what you intend to
do, but also the rationale for it. This will indicate the issue or idea you wish to
explore, what you seek to demonstrate, or the ideas you wish to develop.
Part 2 - Context
This section will give you the opportunity to demonstrate an understanding of the
context of your project. You will be able to discuss other practitioners in your field
who have work in this area and be able to submit a critique of this work.
Part 3 - Evaluation
The self-evaluation of your project is a crucial part of the finished project, since you
will need to review your activity to describe the processes involved, the problems you
have encountered, together with a statement reflecting upon the options you had
available and the reasons why you chose one option over another.
The submission to consider the appropriateness of a Major Project proposal should
include some statement approximating to Parts 1 and 2.
The portfolio for the major project may contain a variety of elements or submissions.
These elements may be the following:
- a composition
- an installation project
- a performance
- a media production, or contribution to a media production (e.g. radio, film,
drama, poetry and/or 'new media')
- software design and implementation
The exact nature and size of the portfolio will depend on the detail of each submitted
element, but it is recommended that at least one element should be submitted as a
'substantial' item.
For example, a student may wish to submit only compositions, in which case, the
recommendation would be that the student submits two contrasting pieces, one of
which should be 'substantial', and where the overall length is in the order of 10-15
minutes.
OR
A Major Project may contain one composition and one installation. Again, one item
would be seen as being 'substantial'.
OR
A Major Project may contain a piece of software and a performance based around
that software.
Exceptionally, students may submit a portfolio with only one element, or three
elements. In the former case, students are recommended to ensure that they don't
'put all their eggs in one basket' and find themselves tied to a particular project that
is not working out well. In the latter, that in order to ensure that they don't
unknowingly commit to too much, that two of the elements are linked, for instance as
above, the development of software that inevitably leads to a
performance/composition.
Outcomes
Choose and define the scope of an appropriate area for structured investigation/design/development.
Collect, organise, understand and interpret information from a
variety of appropriate resources, acting autonomously, with
minimal supervision.
Identify, select and justify the use of appropriate techniques,
methods and development strategies, incorporating an ethical
dimension where appropriate.
Critically evaluate evidence to justify and support conclusions/
recommendations
React to the changing demands of autonomous research,
making creative use of unanticipated discoveries
Communicate the outcome of investigations in an appropriately
professional manner, producing detailed and coherent work.
Assessments
Please see Module Guide (link above)
Assessment Criteria
Please consult your student pathway handbook for details about Anglia Ruskin's generic
assessment criteria and policy. This information can also be found under the Student section
of ANET.
In addition to Anglia Ruskin's generic assessment criteria, your work will also be marked
against module-specific assessment criteria. Assessment tasks for this module will be
marked, as appropriate to your specific project, against the marking criteria, as appropriate,
for Composition and Artefact Creation, Seminar Presentation, Written Work, Practical Essay,
Performance, Performance Process and/or Listening and Appraising, which are
available under the 'Student Resources' section of the departmental web site at:
www.anglia.ac.uk/mpa.
Crucible - Crucible is a research network within and around the University of Cambridge. Its purpose is to encourage interdisciplinary collaboration of technologists with researchers in the Arts, Humanities and Social Sciences.
In an ideal world, and if we weren't human, you could do everything at your computer. This would save paper and grant you access to all sorts of resources 'on-line'. This is the view of many computer enthusiasts and multimedia developers and, indeed, many advances have been made in this area during recent years. However, most people still find it a considerable advantage to be able to read text from paper - they can also read it in the bath, and indeed at any point when using a computer is not convenient.
If you have full access to a computer, please try it all 'on-line' if you like. I designed it this way, and it's not impossible. However, you're more likely to appreciate both methods, so I would suggest that at some point you print out the material and work from paper as well.
Finally, bear in mind that these are early days as far as this sort of learning facility is concerned. There will inevitably be mistakes, errors and inconveniences. Don't be backward in coming forward about these. Let me know. Be pernickety.
Tutees