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2011/2 Provisional Module Catalogue - UNDER CONSTRUCTION & SUBJECT TO CHANGE
 Module Code: CMT1003 Module Title: CREATING MUSIC WITH COMPUTERS 1B
Module Provider: Music and Sound Recording Short Name: CMT1003
Level: HE1 Module Co-ordinator: SANSOM M Dr (Music Record)
Number of credits: 15 Number of ECTS credits: 7.5
 
Module Availability
Semester 2
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.
Module Overview
This module introduces you to contemporary computer-based compositional repertoire and develops individual compositional practice.
Prerequisites/Co-requisites
Pre-requisite: Composing Music with Computers 1A.
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.
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.

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).

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.
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)

Last Updated
11.04.11