A multitrack recording of a musical composition showcasing experimental techniques introduced in the module, developmental sketches and evidence* of analysis of existing research and practice assessing learning outcomes 1,2,3 and 4 (100%) (Final Assessment)

Inspiration, motivation and artistic development
Listening and analysis
Working with creative music tools and technologies
The theory and practice of experimental music
Collaborative creative practice in the music industry

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

Media stores / resource centre
Music laboratories
Multichannel diffusion rig

Ableton Live software
Cycling 74 Max software (with additional third-party externals by IRCAM)
Processing software
Various additional third-party audio plug-ins by McDSP, Avid, Eventide, Michael Norris.

Microsoft Office software

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

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

Demers, J. (2010). Listening Through the Noise: The Aesthetics of Experimental Electronic Music. Oxford University Press.

Reich, S. (2004). Writings on Music 1965 ¿2000. Oxford University Press.

Webb, J. (1999). Tunesmith: Inside the Art of Songwriting. 1st Pbk. edition. New York: Hachette Books.

Wishart, T. (1994). Audible Design: A Plain and Easy Introduction to Sound Composition. York, England: Orpheus The Pantomime Ltd.

1. Develop specialist skills relating to music composition, performance and production.
[Application]

2. Document collaborative processes in the creation, refinement and presentation of original musical works. [Enquiry]

3. Demonstrate a critical understanding of knowledge of contemporary experimental music composition techniques.
[Analysis]

4. Analyse and respond to theories and concepts within existing compositions to produce an original piece of work.
[Problem-Solving; Reflection]