100% in course assessment comprising:

Practical (40%): Create a software application that utilises user input to create some kind of compositional audio output. (Learning Outcome 1,2,3,4.)

Practical (40%): Create a software application that, through interaction with other creative software tools, utilises some kind of input to create both audio output and some other kind of output (e.g. video, robotic). (Learning Outcome 2,3,4,6.)

Evaluation (20%) 1500 word written evaluation of the integration between the creative and technical aspects of the second software application. (Learning Outcome 5.)

The development of custom environments in Creative Software tools such as Max.
An introduction into other creative audio environments that can integrate with of Max.
Extending the use of Max for Live and Max from an intermediary problem-solving environment (as developed in Creative Software Tools 1) to using it as stand-alone creative environment.
An introduction to the use of Max to create outputs other than audio.

3-hour lecture / laboratory / tutorial / seminar sessions per week

Media stores / resource centre
Music laboratories

Reaktor
Ableton Live and Max for Live
Max/MSP
Doepfer Modular synth

Books, eBooks and audio recordings via the Library
Lynda.com Training library

Online hosting (e.g. Soundcloud) and transfer (e.g. Dropbox) services

Boulanger, Richard, Victor Lazzarini, and Max Mathews. 2010. The Audio Programming Book. Har/DVD edition. Cambridge, Mass: MIT Press.
Collins, Nicolas. (2009) Handmade Electronic Music: The Art of Hardware Hacking. 2 edition. New York: Routledge.
Manzo, V. J., 2011. Max//Msp/Jitter for Music: A Practical Guide to Developing Interactive Music Systems for Education and More. New York: Oxford University Press.
Manzo, V. J., and Will Kuhn. (2015) Interactive Composition: Strategies Using Ableton Live and Max for Live. New York, NY: OUP USA.
Miranda, Eduardo. (2002) Computer Sound Design: Synthesis Techniques and Programming. 2nd ed. Focal Press.
Russ, Martin. (2008) Sound Synthesis and Sampling. 3rd ed. Focal Press.
Shepard, Brian K. (2013) Refining Sound: A Practical Guide to Synthesis and Synthesizers. New York: OUP USA.
Vail, Mark. (2014) The Synthesizer: A Comprehensive Guide to Understanding, Programming, Playing, and Recording the Ultimate Electronic Music Instrument. New York City: OUP USA.
Wishart, Trevor. 1994. Audible Design: A Plain and Easy Introduction to Sound Composition. York, England: Orpheus The Pantomime Ltd.

1. CREATE ORIGINAL STAND ALONE CREATIVE TOOLS IN AUDIO DEVELOPMENT ENVIRONMENTS LIKE MAX [Application]

2. REVERSE ENGINEER OTHER PEOPLES WORK TO INFORM YOUR OWN PRACTICE USING CREATIVE SOFTWARE TOOLS.
[Enquiry; Application]

3. UNDERSTAND THE CORE PRINCIPLES OF DEVELOPING SOFTWARE TOOLS.
[Knowledge and Understanding]

4. RESEARCH AND DEVELOP CREATIVE SOLUTIONS TO PROBLEMS WHICH YOU COME UP AGAINST WITHIN COMPOSITION AND AUDIO PRODUCTION.
[Enquiry; Problem Solving]

5. EVALUATE THE QUALITY OF YOUR WORK WITHIN AUDIO DEVELOPMENT ENVIRONMENTS SUCH AS MAX.
[Reflection]

6. UNDERSTAND THE USE OF CREATIVE SOFTWARE TOOLS TO CREATE OUTPUTS OTHER THAN AUDIO. [Enquiry]

Are you curious about the possibilities of manipulating sound with software? Would you like to create sonic artworks using customised interactive environments? On this module you will work with software such as Max for Live, Reaktor, or Supercollider to learn how to transform audio events in exciting and unexpected ways. There will be plenty of opportunities to develop your creative skills and explore ideas which will help you in your future career.