An introduction to acousmatic and electroacoustic music composition and analysis including creative forms of transforming, processing and treating sounds in order to extract and arrange musical information.
There will be numerous opportunities to explore specialist music software to support the learning process.
Introduction to a perceptual approach to the arrangement of musical ideas.
Textural analysis of existing compositions in order to create effective sound atmospheres.
Analysis of existing compositional structures and the interaction between different musical ideas to facilitate more coherent musical development.
Development of skills in the use of certain software packages in order to demonstrate your musical knowledge, originality and creativity.
Compositional structures, techniques and processes associated with electronic, jazz, experimental and avant garde styles.
Development of effective techniques for communicating information to an audience.

Contemporary composition (8 minutes duration) plus Presentation, assessing learning outcome 1, 4 and 5 (50%)

Acousmatic composition (8 minutes duration) plus 2500 word report, assessing learning outcome 2, 3 and 4 (50%) (Final assessment)

Key Information Set Data:
50% Coursework
50% Practical Exam

3 hours per week lecture/practical over 24 weeks in groups of 20.

Key Information Set Data:
24% Scheduled Learning and Teaching Activity
76% Guided Independent Learning

Belkin, A., 2008. A practical Guide to Musical Composition 2nd ed., University of Montreal. Available at: https://www.webdepot.umontreal.ca/Usagers/belkina/MonDepotPublic/bk/index.html [Accessed January 13, 2011].
Cage, J., 1973. Silence: Lectures and Writings New edition., Marion Boyars.
Cox, C. & Warner, D., 2004. Audio Culture: Readings in Modern Music, Continuum International Publishing Group Ltd.
Emmerson, S., 1986. The Language of Electroacoustic Music, Palgrave Macmillan.
Emmerson, S., 2000. Music, Electronic Media and Culture. Aldershot, Ashgate.
Landy, L., 2007. Understanding the Art of Sound Organization, MIT Press.
Nyman, M., 1999. Experimental Music: Cage and Beyond 2nd ed., Cambridge University Press.
Schafer, R.M., 1994. Soundscape: Our Sonic Environment and the Tuning of the World, Destiny Books.
Smalley, D., 1997. Spectromorphology: Explaining Sound-Shapes. Organised Sound, 2(02), pp.107-126.
Toop, D., 2005. Haunted Weather: Music, Silence, and Memory New Ed., Serpent's Tail.
Toop, D., 2001. Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds New Ed., Serpent's Tail.
Tufte, E.R., 2006. The Cognitive Style of PowerPoint: Pitching Out Corrupts Within 2nd ed., Graphics Press.
Young, R., 2002. Undercurrents: The Hidden Wiring of Modern Music, Continuum International Publishing Group Ltd.
Wishart, T., 1996. On Sonic Art. Amsterdam, Harwood academic publishers.

Music Technology laboratories and studios as well as suitable Digital Audio Workstations and associated music composition software.

1. DEMONSTRATE KNOWLEDGE AND UNDERSTANDING OF MUSIC COMPOSITIONAL STYLES AND TECHNIQUES.
[Knowledge and Understanding; Learning]

2. EVALUATE MUSIC COMPOSITION TECHNIQUES UNDERTAKEN IN THE ASSIGNMENT.
[Analysis]

3. REFLECT ON THE COMPOSITIONAL APPROACHES UNDERTAKEN.
[Reflection]

4. DESIGN AND DEVELOP A CONTINUOUS COMPOSITION.
[Application]

5. CONVEY IDEAS IN A COMPREHENSIBLE MANNER THROUGH LIVE PRESENTATION.
[Communication]