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| Module Availability |
| Semester 2 |
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| Assessment Pattern |
Performance: participation in ensemble performance - 25%
Performance: small group performance with supporting commentary - 45%
Coursework: a reflective essay of no more than 2,000 words - 30%
A weighted aggregate mark of 40%.
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| Module Overview |
| You will be introduced to the theory, aesthetics and technical considerations of electronic improvisation. Topics will include history of live electronics, design of hardware and software instruments and practical improvisation. |
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| Prerequisites/Co-requisites |
| Laptop with appropriate hardware and software, as advised. |
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| Module Aims |
| To develop a theoretical understanding, and practical proficiency of digital improvisation in a range of contexts. |
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| Learning Outcomes |
Upon completion of this module, you should be able to:
• Outline the history of live electronics in a number of different musical styles.
• Describe the motivations of the composers and musicians studied for employing live electronics and improvisation with electronics.
• Demonstrate the technical skills necessary to design, build and test electronic instruments and systems appropriate for live electronic performance.
• Develop the musical proficiency and aural awareness necessary for effective digital improvisation.
Transferable skills:
• Adopt a professional approach to your musical activities whether working individually or with others.
• Interact effectively within a team or learning group, giving and receiving information and ideas and showing a willingness to modify your contributions in response to other members of the group.
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| Module Content |
The following is an indication of the likely topics to be covered:
• Lectures on the history and aesthetics of live electronics.
• Workshop sessions on the design and construction of electronic instruments and systems.
• Rehearsals and performances of electronic improvisational works.
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| Methods of Teaching/Learning |
• Eleven 2-hour lectures/workshops.
• Guided rehearsals and performance sessions.
• Supporting material for each classroom session.
• Tutorials.
• Guided reading and technical study.
• Production of a reflective essay, commentary and documentation of performances.
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| Selected Texts/Journals |
Compulsory reading:
Cox, C. & Warner, D. (eds.) (2004) Audio Culture: Readings in Modern Music. New York: Continuum.
Recommended reading:
Borgo, D. (2005) Sync or Swarm: Improvising Music in a Complex Age. London and New York: Continuum.
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| Last Updated |
| 11.04.11 |
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