Full Title:Electroacoustic Music and Composition 1
Language of Instruction:English
Module Code:MUSC H9Z01
 
Credits: 5
Valid From:Semester 1 - 2014/15 ( September 2014 )
Module Delivered in 1 programme(s)
Module Description:The aim of this module is to introduce students to the history, aesthetics and practice of electroacoustic music, outlining the current compositional techniques and principles. This module will be delivered through a series of lectures, as well as practical and listening classes.
Learning Outcomes:
On successful completion of this module the learner should be able to
  1. show an in-depth knowledge of electroacoustic music aesthetics and history up until 1960’s,
  2. be conversant with current compositional techniques and principles in practice
  3. be able to recognise various styles of electroacoustic composition
  4. be expected to illustrate an understanding if current techniques and practices in their own compositions
  5. students be expected to submit a portfolio of two short works which contrast in approach and technique
 

Module Content & Assessment

Indicative Content
Introduction: Electroacoustic music
Listen to variety of works – giving students an introduction to the area, and a broad historical overview - challenges for composer, performer and listener.
Developments in 20th century music
Widening the orchestra and extending instrumental sound Emancipation of rhythm, mimesis – Debussy, Stravinsky Schoenberg – klangfarbenmelodie, Sprechstimme, Second Viennese School, (Schoenberg, Berg, Webern) Serialism Futurists, Luigi Russolo, Art of Noises Varese – organised sound, spatial movement, ‘non-electronic synthesis’ Cage - found objects Total Serialism – Messiaen, Boulez
Early electronic Instruments
the theremin, ondes martenot, the telharmonium and others. Composers incorporating electronic instruments - Messiaen, Hindemith, Honegger, Varese. Performers – Clara Rockmore
Foundations of Electroacoustic Music
Developments after World War II Paris RTF – Musique Concrete – objet sonore - Pierre Schaeffer Cologne WDR, Elektronische Musik –Eimert, Meyer-Eppler Total Serialism Stockhausen
Foundations of Electroacoustic Music
Music in America - Columbia University - Ussachevsky, Luening Music in Italy – Milan – RAI - Berio, Maderna, Nono Music in Canada –Le Caine
Xenakis , Stochastic Music
n/a
Poeme Electronique – pre-empting the sound installation
Varese, Xenakis, Corbusier - Phillips Pavilion 1958
1960’s - overview
Paris GRM, Xenakis, Cologne - Stockhausen, Milan Studios, Music in America - Columbia- Princeton Electronic Music Centre, Bell Labs, San Francisco Tape Centre
Elements of Electroacoustic Music
• Electroacoustic elements – composition of the sounds themselves – importance of timbre, moving beyond the pitch/duration concept of note – use of noise as a musical feature – texture – sound motion – spatialisation.
Relationship of sounds
Introduction to Spectromorphology
Assessment Breakdown%
Course Work100.00%

Full Time

Course Work
Assessment Type Assessment Description Outcome addressed % of total Marks Out Of Pass Marks Assessment Date Duration
Continuous Assessment Composition Portfolio 1,2,3,4,5 100.00 0 0 n/a 0
No Project
No Practical
No End of Module Formal Examination
Reassessment Requirement
A repeat examination
Reassessment of this module will consist of a repeat examination. It is possible that there will also be a requirement to be reassessed in a coursework element.

DKIT reserves the right to alter the nature and timings of assessment

 

Module Workload & Resources

Workload: Full Time
Workload Type Workload Description Hours Frequency Average Weekly Learner Workload
Lecture No Description 2.00 Every Week 2.00
Practical No Description 1.00 Every Week 1.00
Directed Reading No Description 2.00 Every Week 2.00
Independent Study No Description 3.00 Every Week 3.00
Total Weekly Learner Workload 8.00
Total Weekly Contact Hours 3.00
This course has no Part Time workload.
Resources
Recommended Book Resources
  • Chadabe J 1996, Electric Sound: The Past and Promise of Electronic Music, Prentice Hall
  • Manning P 2004, Electronic and Computer Music, Oxford University Press
  • Griffiths, P 1994, Modern Music: A Concise History, Thames and Hudson
  • Emmerson, S. (ed.) 1987, The Language of Electroacoustic Music, Harwood Academic Pub
  • Wishart T 1994, Audible Design, Orpheus the Pantomine Ltd
This module does not have any article/paper resources
Other Resources

Module Delivered in

Programme Code Programme Semester Delivery
DK_HMUSC_R Master of Arts/Master of Science in Music Technology 1 Mandatory