MUSIC340-19A (HAM)

Music Technology 3: Sonic Art and Inter-media

15 Points

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Division of Arts Law Psychology & Social Sciences
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)

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, 9 or 3 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.
    • For extensions starting with 3: dial +64 7 2620 + the last 3 digits of the extension e.g. 3123 = +64 7 262 0123.
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Paper Description

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There are four components in the paper:

Aesthetics. An overview of the aesthetics of this art-form and an associated historical background.

Technical studies. An overview of some of the hardware and software used to create musical compositions in a variety of genres with a focus on computer technology.

Practical Studies. Completing practical tasks to develop skills with the emphasis on producing high quality and imaginative finished works.

Compositional Skills. An overview of some compositional techniques that have influenced the idiom.

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Paper Structure

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As a level three course, teaching is mainly conducted through workshops and lectures. The schedule provided is a guideline only and may alter depending on students' progress and current skills. It is expected that students will have completed the prescribed reading before coming to lectures.

Each student is required to prepare and deliver a research seminar to the class. Topics will be advised.

The contact sessions with the lecturers cover aesthetics, history, listening production and composition matters. Technical and compositional issues will be approached in practical terms as well.

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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 artsform covered, and demonstrate engagement with material intellectually through written work, analysis and listening.
    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:
    • 1st Creative Work (1)
    • 2nd Creative Work (2)
    • Seminar presentation (5)
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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. 1st Creative Work
5 Apr 2019
4:30 PM
30
  • Online: Submit through Moodle
2. 2nd Creative Work
24 May 2019
4:30 PM
30
  • Online: Submit through Moodle
3. Max patches 1
25 Mar 2019
4:30 PM
10
  • Online: Submit through Moodle
4. Max patches 2
13 May 2019
4:30 PM
10
  • Online: Submit through Moodle
5. Seminar presentation
20
  • Other:
  • In Class: In Lecture
  • 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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TEXTS/SOFTWARE * Indicates is on desk copy at the library

• Collins, Nick, Margaret Schedel and Scott Wilson. Cambridge Introductions to Music: Electronic Music. CUP 2013

• Cook, Nicholas. Analysing Multimedia. Oxford 2013

* Cope, David. New Directions in Music (Seventh Edition).WCB 2002

• Lilburn, Douglas. A Search for Tradition and A Search for a Language. Lilburn Trust 2011

• Vella, Richard. Musical Environments: A Manual for Listening, Improvising and Composing. Currency 2000

• Wishart, Trevor. On Sonic Art (revised edition). Routledge1996

In this paper you will use books and journal articles which are available electronically or in print from the University library. There will be no cost for accessing any of the required materials.

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Recommended Readings

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• Chapman, N and Jenny Chapman. Digital Multimedia (3rd edition). Wiley 2013

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

* Manzo, V.J. Max/MSP/Jitter for Music. OUP 2011

• Winkler, T. Composing Interactive Music. MIT Press 2001

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Other Resources

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Highly recommended software MAX7 One year student from Cycling 74.

Useful journals held by the University Library

Contemporary Music Review

Electronic Musician

The Computer Music Journal

Organised Sound

Wire

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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 workload is indicated in the laboratory hours, lecture schedule and assignments set.

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Linkages to Other Papers

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Prerequisite(s)

Prerequisite papers: MUSIC240 or MUSI240

Corequisite(s)

Equivalent(s)

Restriction(s)

Restricted papers: MUSI340

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