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| Module Availability |
| Semester 2 |
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| Assessment Pattern |
Performance: Solo or group performances with supporting commentary - 70%
Coursework: a reflective essay of no more than 2,500 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 contemporary live electronic music. Topics will include the design and construction of electronic music systems and effective improvisational strategies and practice. |
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| Prerequisites/Co-requisites |
| Pre-requisite: HE2 Digital Improvisation 2. Laptop with appropriate hardware and software, as advised. |
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| Module Aims |
The aims of this module are to:
To develop a theoretical understanding, and practical proficiency of contemporary live electronic music.
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| Learning Outcomes |
Upon completion of this module, you should be able to:
• Demonstrate proficiency in the design, construction and application of live electronic systems.
• Gain aptitude in the use of software for live electronics, such as Ableton Live, Max/MSP, Audiomulch, Mainstage and Pure Data.
• Display skill in the use of MIDI and audio technologies for live sampling and manipulation of musical material.
• Construct effective generative electronic musical systems.
• Develop the musical proficiency and aural awareness necessary for compelling digital improvisation.
Transferable skills:
• Give and receive information and ideas clearly, and modify your material in response to group or tutor feedback.
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| Module Content |
The following is an indication of the likely content of the module:
• Lectures on contemporary live electronic practice.
• 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 lecture/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
Young, R. (ed.) 2002:Undercurrents: The Hidden Wiring of Modern Music(New York: Continuum)
Recommended reading
Borgo, D. 2005:Sync or Swarm: Improvising Music in a Complex Age(London and New York: Continuum)
Cox, C. & Warner, D. (eds.) 2004:Audio Culture: Readings in Modern Music(New York: Continuum)
Prendergast, M. 2003:The Ambient Century(London: Bloomsbury)
Sloboda, J. A. (ed.) 2001: Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition(Oxford: Oxford University Press)
Wishart, T. (ed. Emmerson, S.) 1996:On Sonic Art(Amsterdam: Harwood Academic Publishers)
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| Last Updated |
| 11.04.11 |
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