Lancaster University

This study in composition will be concluded with two final pieces of coursework: the origination of a soundtrack using Logic Pro and the realization of an interactive computer music work with Max/MSP including instrumental part composition. These works will be performed in audiovisual events in the Lent and Summer terms. The presentation of works at the audiovisual events represents a key element of the assessment. Students should note that the marks awarded for the module will be primarily based on the presentation/performance of works at the audiovisual events. The submission of coursework that follows is to allow for (a) further consideration of the work where the assessors felt that a mark could not be decided at the audiovisual event or (b) a mark to be established where presentation at the event did not take place owing to unforeseen medical or compassionate circumstances. Student should note that in the case of works created for live performance using MaxMSP, the performance element of the work can only be judged through presentation at the AV event.  A Downgrading of the mark will be considered as penalties in the following cases:

 

Failure to present a work at AudioVisual (AV) event 

Non-submission of exam form for AV event

Non-submission of biography for AV event 

Non-submission of programme note for AV event

Non-attendance at a rehearsal for AV event 

Non-submission of required documentation

Associated Board Grade 5 Theory or equivalent (equivalent qualifications might include A2-level Music or Music technology qualification) or permission of module convenor.  A small number of places will be available to non-music technology majors with priority being given to students studying in the Lancaster Institute for the Contemporary Arts, followed by other students from within the Faculty of Arts and Social Sciences.

c.   present group work in-class using appropriate means. (e.g. PowerPoint presentation)

On successful completion of this module students will be able to...

 

j.        present interactive computer music composition with an instrument or voice in the concert situation   

On successful completion of this module students will be able to...  

a.    work in the server-client computer network environment  
b.     plan their workflow on a computer system using multiple storage systems on both local and wider networks  
c.   work effectively with their peers on group exercises (e.g.  group presentations  for exercises in software learning and composition)  
d.   present a topic in class using appropriate means (e.g. powerpoint presentation and audio examples to demonstrate a VST plug-in)

Assessment is weighted thus:

                        *Coursework 1 (Logic): 50%

                         Coursework 2 (Max/MSP): 50%

                  *consisting of two parts: 20% class test and 80% final coursework

 

[A] Software used in the module

Apple Logic Pro.

Cycling '74 Max/MSP.

 

[B] Bibliography:

*Christoph Cox and Daniel Warner, Audio Culture: Readings in Modern Music (NY: Continuum, 2004)

 

David Byrne, 'Bush of Ghosts - Making Of', http://bushofghosts.wmg.com/home.php (accessed 08 March 2010); see also Byrne's selections from My Life in the Bush of Ghosts and texts by Paul Morley and David Toop, ibid.

 

Anthony Egizii, Production, Mixing, Mastering with Waves, 4th edn (Knoxville, TN: Sound.Org Inc., 2006). Sound.Org Inc. is a division of Waves Audio Ltd

 

Brian Eno, A Year with Swollen Appendices (London: Faber and Faber, 1996)

Torsten Fassbender, The Trance Experience: An Introduction to Electronic Dance Music (Knoxville, TN: Sound.Org Inc., [2006(?)])

 

Michael Nyman, Experimental Music: Cage and Beyond, 2nd edition (Cambridge: Cambridge University Press, 1999)

 

Bob Ostertag, 'Why Computer Music Sucks', http://bobostertag.com/writings-articles-computer-music-sucks.htm (accessed 08 March 2010)

 

David Toop, Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds (London: Serpent's Tail, 1995)

 

Amos Tutuola, My Life in the Bush of Ghosts (London: Faber and Faber, 1954)

 

Curtis Roads and others, The Computer Music Tutorial (Cambridge, MA: MIT Press, 1996).

 

Apple Logic Pro, software documentation

 

Waves manuals, software documentation

 

Chris Dobrian, David Zicarelli et al., Max 5 Help and Documentation (included in the software Max/MSP 5)

 

  *It is recommended that you purchase this book.

 

[C] Listening for Studio Composition

William S. Burroughs, Break Through in Grey Room (Sub Rosa SR08)

Brian Eno, Ambient1: Music for Airports (Virgin 7243 8 66495 2 2)

Brian Eno, Another Day on Earth (Opal Music HNCD1475)

Brian Eno, Before and after Science (Virgin 7243 5 77292 2 2)

Brian Eno and David Byrne, My Life in the Bush of Ghosts (Nonesuch 79894-2),

 see also http://bushofghosts.wmg.com/home.php

Brian Eno, Bono, Adam Clayton, The Edge, Larry Mullen Jnr,

 Passengers: Original Soundtracks 1 (Island CID 8043 524166-2)

Christian Marclay, More Encores (ReR Megacorp, ReR CM1)

Kraftwerk, 'Autobahn', The Robots'

Music in the World of Islam (1976, Tangent Records), recordings by Jean Jenkins and

 Poul Rovsing Olsen (engineers); released in 1994 on CD in 3 volumes, 'Abu Zeluf'

 is included in Music in the World of Islam: Human voice/lutes (Topic Records

 TSCD901)

Bob Ostertag, various recordings, http://bobostertag.com/ (accessed 08 March 2010).

 In March 2006 Ostertag decided to made his recordings available for free

 download, i.e., those to which he has the rights

DJ Sammy, 'Heaven', Heaven (Data Records, DATACD01)

Talking Heads, Remain in Light (Sire/Warner Bros/Rhino 8122 73300 2),

 re-released with 5.1 mix, 2006

Stevie Wonder, 'Superstition', Talking Book (1972 Sesame Street appearance available

 on YouTube at time of writing)

BA Music Technology (compulsory module)

 

 BA Music, BA Popular Music Studies, BA combined majors with Music

 (optional module)