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. You'll be assigned a piece of music probably, but not necessarily, from the following list:
   
   
   • Katharine Norman: Making Place
   • Ryoji Ikeda: Spectra
   • Alva Noto: unitxt/univrs
   • Bruce Naumann: Raw Materials
   • Zimoun: take one or more pieces as examples
   • Ray Lee: Chorus
   • David Hall: This is a Television Receiver; TV Fighter
   • Christian Marclay: The Clock: a, b, c, d, e; you also might want to have a look at an installation called 'Crossfire'...
   • Peter Vogel: Rhythmic Sounds; Soundwall
   
   If you have a particular piece you'd like to include, please discuss it with the module tutor. For information and comparison, here are the original set of pieces from which the subject of your presentation would have been chosen:
   • Trevor Wishart Vox 5
   • Paul Lansky Chatter of Pins
   • Karlheinz Stockhausen Kontakte
   • Denis Smalley Pentes
   • Steve Reich Come Out
   • Alvin Lucier I am sitting in a room
   • Iannis Xenakis La Legende d'Eer
   • Venetian Snares Dance like you're selling nail
   • Luciano Berio Visage
   • Beatles A Day in the Life
   
   
   
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

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:
Google, Scholar, Books, Image, Video,
University Library

Aims and Outcomes
- feel clear about course structure
- feel confident about using Canvas
- 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

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.

w3

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.

Follow-up

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

w5

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

task summary | WebCT

w7

part of portfolio (70%)

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.

n/a

presentation: 30% of whole...

Preparation
- Presentations and Performances...

Focus
- Presentations and Performances...

Follow-up Work
- Project/portfolio work