| Module Code: CMT1003 |
Module Title: CREATING MUSIC WITH COMPUTERS 1B |
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Module Provider: Music and Sound Recording
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Short Name: CMT1003
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Level: HE1
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Module Co-ordinator: SANSOM M Dr (Music Record)
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Number of credits: 15
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Number of ECTS credits: 7.5
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| Module Availability |
| Semester 2 |
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| Assessment Pattern |
Coursework 1: online test - 20%
Coursework 2: composition portfolio - 40%
Coursework 3: composition portfolio and commentary - 40%
A minimum of 40% for each Unit of Assessment.
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| Module Overview |
| This module introduces you to contemporary computer-based compositional repertoire and develops individual compositional practice. |
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| Prerequisites/Co-requisites |
| Pre-requisite: Composing Music with Computers 1A. |
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| Module Aims |
The aims of this module are to:
Introduce you to the aesthetical, technical and stylistic basis of a range of contemporary computer-based compositional practice.
Provide you with a basis for developing individual compositional practice.
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| Learning Outcomes |
On successful completion of this module you should be able to:
Understand the aesthetical, technical and stylistic basis of a range of contemporary computer-based compositional repertoire.
Compositionally duplicate the key characteristics of a range of contemporary computer-based musical styles.
Understanding the relationship between theory and practice in creative practice.
Conceptualise, develop and realise individual compositional work.
Sustain an effective studio-practice regime.
Transferable skills:
Use and access a range of learning resources (including IT) and know how to plan work to meet deadlines.
Adopt a professional approach to your musical activities whether working individually or with others.
Apply given tools and methods accurately and carefully to a well-defined problem and begin to appreciate the complexity of issues in the subject.
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| Module Content |
The following is an indication of the likely topics to be covered:
The aesthetical, technical, and stylistic basis of a range of contemporary computer-based compositional repertoire (e.g. noise, glitch, ambient, plunderphonics, live electronics, turntablism).
Detailed study of artist case studies exploring the theory/practice dynamic (e.g. Brian Eno, Matthew Herbert).
How to develop individual compositional practice (e.g. artistic intent, contextual awareness, studio methodology, nature of creative process, research and development of ideas).
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| Methods of Teaching/Learning |
Lectures.
Tutorials.
Workshops.
Guided reading and listening.
Responding to questions in class.
Preparing for and taking part in class tests.
Producing a portfolio of composition tasks.
Producing a portfolio of individual compositional work and accompanying commentary.
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| Selected Texts/Journals |
Compulsory
Cox, Christopher & Warner, Daniel, ed.s, 2004: Audio Culture: readings in modern music (New York: Continuum)
Recommended
Eno, Brian, 1996: A Year With Swollen Appendices (London: Faber & Faber)
Hugill, Andrew, 2008: The Digital Musician (New York: Routledge)
Toop, David, 2004: Haunted Weather: Resonant Spaces, Silence and Memory (London: Serpent's Tail)
Holmes, Thomas, 2002: Electronic and Experimental Music (New York: Routledge)
Young, Robert, ed., 2002: Undercurrents: the hidden wiring of modern music (New York: Continuum)
Taylor, Timothy, 2001: Strange Sounds: Music, Technology and Culture (New York: Routledge)
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| Last Updated |
| 11.04.11 |
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