MUSIC140-18A (HAM)

Music and Computers

15 Points

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Division of Arts, Social Sciences and Law
School of Arts
Music

Staff

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Convenor(s)

Michael Williams

Michael Williams
9369
IJ.2.02
To be advised
michael.williams@waikato.ac.nz

Martin Lodge

Martin Lodge
9371
I.1.06B
To be advised
martin.lodge@waikato.ac.nz

Lecturer(s)

Administrator(s)

: kimberley.johnson@waikato.ac.nz

Placement Coordinator(s)

Tutor(s)

Student Representative(s)

Lab Technician(s)

Librarian(s)

: anne.ferrier-watson@waikato.ac.nz

You can contact staff by:

  • Calling +64 7 838 4466 select option 1, then enter the extension.
  • Extensions starting with 4, 5 or 9 can also be direct dialled:
    • For extensions starting with 4: dial +64 7 838 extension.
    • For extensions starting with 5: dial +64 7 858 extension.
    • For extensions starting with 9: dial +64 7 837 extension.
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Paper Description

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OVERVIEW

There are four main components: technical, historical/aesthetic, listening, and applied studies.

1. Technical Studies: The main technical considerations in using MIDI and simple digital audio generation and production equipment. This includes an overview of useful current software.

2. Historical Survey/Aesthetics: A survey of the interplay between Western music thinking and music technology inventions, and some of the stylistic results.

3. Listening: Covering the main aspects of musical thought in using new technology in music, and the analysis of electroacoustic/ experimental works.

4. Applied Studies: The operation of computer music equipment, and the creation and production/arrangement of a final piece using the studio workstations provided. All pieces must be presented during lectures.

There are six modules in this paper.

Module 1. DAWs. An introduction to DAWs (digital Audio Workstations) with an emphasis on Pro-Tools and Ableton Live. Students will learn the basic purpose and functions of these programs and will demonstrate this through practical exercises.

Module 2. History and aesthetics 1

Module 3. Studio knowledge. Students will learn some of the basic knowledge associated with music studios.

Module 4. History and aesthetics 2

Module 5. Audio Recording and editing. Students will learn basic recording techniques and audio editing

In most cases, student will be expected to apply their knowledge through the creation of original music compositions.

Module 6. History and aesthetics 3

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Paper Structure

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There are two 2 hour lectures per week in this paper. It is expected that you spend a further 4 hours per week in study and lab time for this paper.

In the technical sections of the paper, classes will be conducted in labs where students will have the opportunity to use the computer technology associated with the paper.

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Learning Outcomes

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Students who successfully complete the course should be able to:

  • Aesthetics, History and Listening
    Demonstrate understanding of the history and aesthetics of the artforms covered, and demonstrate engagement with material intellectually through written work, analysis and listening. This can only be achieved if recommended readings are completed.
    Linked to the following assessments:
  • Technical, Practical, Composition
    Demonstrate understanding of the technical means to create work, the skills to get high quality audio output, compositional craft in realising works, and aesthetic clarity/ideas in the idiom of each assignment specification.
    Linked to the following assessments:
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Assessment

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Assessment Components

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The internal assessment/exam ratio (as stated in the University Calendar) is 100:0. There is no final exam. The final exam makes up 0% of the overall mark.

The internal assessment/exam ratio (as stated in the University Calendar) is 100:0 or 0:0, whichever is more favourable for the student. The final exam makes up either 0% or 0% of the overall mark.

Component DescriptionDue Date TimePercentage of overall markSubmission MethodCompulsory
1. Assignment 1 The DAW
16 Mar 2018
No set time
10
  • Online: Submit through Moodle
2. Assignment 2: In class written test A
29 Mar 2018
10:00 AM
10
  • Hand-in: In Lecture
3. Assignment 3 Basic studio knowledge
10 Apr 2018
12:00 AM
10
  • Hand-in: In Lecture
4. Assignment 4: In class written test B
3 May 2018
10:00 AM
10
  • Hand-in: In Lecture
5. Assignment 5 Basic Audio editing
15 May 2018
12:00 AM
10
  • Online: Submit through Moodle
6. Assignment 6: In class written test C
24 May 2018
10:00 AM
10
  • Hand-in: In Lecture
7. FINAL COMPOSITION
31 May 2018
12:00 AM
20
  • Online: Submit through Moodle
8. ESSAY
1 Jun 2018
10:00 AM
20
  • Online: Submit through Moodle
Assessment Total:     100    
Failing to complete a compulsory assessment component of a paper will result in an IC grade
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Required and Recommended Readings

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Required Readings

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Required Books (* Indicates book is on desk copy in the library)

* Goodall, H. Big Bangs. London: Vintage, 2001.

* Vella, R. Musical Environments. Currency Press, 2000. Vella, R. Sounds in Space, Sounds in Time. Boosey & Hawkes , 2003

* Collins, Schedel, Wilson. Electronic Music. Cambridge University Press, 2013

* Kuhn, W. & Manzo, V. Interactive Composition: Strategies Using Ableton Live and Max of Live. OUP, 2015.

In this paper you will use books and journal articles that are available electronically or in print form from the University Library. There will be no cost for accessing any of the required materials. Links to other material that is useful are given in the Moodle site for this class.

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Recommended Readings

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Recommended Reading

Collins, N. & D’Escrivan, J (eds). The Cambridge Companion to Electronic Music. CUP: 2007

Cox. Christopher & Warner, D. Audio Culture: Readings in Modern Music. New York: Continuum, 2004.

Brice, R. Music Engineering (2nd Edition). Oxford: Newnes, 1998.

Homles, T. Electronic and Experimental Music. Routledge, 2012.

Katz, M. Capturing Sound. How Technology Had Changed Music. UCP, 2010

Jones, S. Rock Formation. Music, Technology and Mass Communication, 1993.

Useful Books Include:

Electronic Music/MIDI

Dobson, R. A Dictionary of Electronic and Computer Music Technology.Oxford: O.U.P., 1992.

Gilreath, Paul (ed) Guide to MIDI Orchestration. GA: MusicWorks, 1995.

Manning, P. Electronic and Computer Music (2nd Ed) Oxford: Clarendo Press, 1992

Music Composition

Cope, David New Directions in Music. (Seven Edition) Dubuque. IA: William C.Brown, 1971.

Recording/Producing

Davis, G. and Jones, R. The Sound Reinforcement Handbook, Milwaukee: Hal Leonard, 1989.

Bacon, Tony, Rock Hardware: the Instruments, Equipment and Technology of Rock. Poole: Blandford, 1981.

Negus, K. Producing Pop London: Edward Arnold 1992.

Nisbett, A. The Sound Studio. Oxford: Focal Press, 1995.

Serials

As the field of new technology in music rapidly changes, you will find that books on the subject date quickly. Periodicals and magazines help to offset this. The following is a collection of reading sources that may help you in completing assignments.

Keyboard Magazine University Library

Computer Music Journal University Library

Organised Sound University Library

Wire University Library

Listening

Extensive and intelligent listening is one of the primary tools for developing an appreciation of electroacoustic music, and point to possibilities that you may use in your own work. Please make an effort to extend your knowledge of the repertoire at every opportunity. The Library holds a collection of experimental computer music. Examples from a wide stylistic repertoire will be played in class as part of the aesthetics lectures.

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Online Support

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A Moodle site is available with all materials associated with the course, and submission portal.

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Workload

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The expected workload for the course is outlined in the lab. hours, tutorials, lecture schedule, and assessments.

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Linkages to Other Papers

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Prerequisite(s)

Corequisite(s)

Equivalent(s)

Restriction(s)

Restricted papers: MUSI140

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