Module Descriptors
CONTEMPORARY COMPOSITION
XXET50276
Key Facts
Faculty of Arts and Creative Technologies
Level 5
30 credits
Hours of Study
Scheduled Learning and Teaching Activities: 72
Independent Study Hours: 228
Total Learning Hours: 300
Assessment
- REPORT weighted at 50%
- PRESENTATION - INDIVIDUAL weighted at 50%
Module Details
Module Special Admissions Requirements
None.
Module Resources
Music Technology laboratories and studios as well as suitable Digital Audio Workstations and associated music composition software.
Module Learning Strategies
3 hours per week lecture/practical over 24 weeks in groups of 20.
Module Additional Assessment Details
Acousmatic composition (8 minutes duration) plus 2500 word report, assessing learning outcome 1 and 2 (50%)
Contemporary composition (8 minutes duration) plus Presentation, assessing learning outcome 3 and 4 (50%) (Final assessment)
Contemporary composition (8 minutes duration) plus Presentation, assessing learning outcome 3 and 4 (50%) (Final assessment)
Module Indicative Content
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.
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.
Module Texts
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. ISBN: 0714510432
Cox, C. & Warner, D., 2004. Audio Culture: Readings in Modern Music, Continuum International Publishing Group Ltd. ISBN: 0826416152
Emmerson, S., 1986. The Language of Electroacoustic Music, Palgrave Macmillan. ISBN: 0333397592
Emmerson, S., 2000. Music, Electronic Media and Culture. Aldershot, Ashgate. ISBN: 0754601099
Landy, L., 2007. Understanding the Art of Sound Organization, MIT Press. ISBN: 9780262122924
Nyman, M., 1999. Experimental Music: Cage and Beyond 2nd ed., Cambridge University Press. ISBN: 0521653835
Schafer, R.M., 1994. Soundscape: Our Sonic Environment and the Tuning of the World, Destiny Books. ISBN: 0892814551
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. ISBN: 1852427892
Toop, D., 2001. Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds New Ed., Serpent¿s Tail. ISBN: 1852427434
Tufte, E.R., 2006. The Cognitive Style of PowerPoint: Pitching Out Corrupts Within 2nd ed., Graphics Press. ISBN: 0961392169
Young, R., 2002. Undercurrents: The Hidden Wiring of Modern Music, Continuum International Publishing Group Ltd. ISBN: 0826464505
Wishart, T., 1996. On Sonic Art. Amsterdam, Harwood academic publishers. ISBN: 9783718658473
Cage, J., 1973. Silence: Lectures and Writings New edition., Marion Boyars. ISBN: 0714510432
Cox, C. & Warner, D., 2004. Audio Culture: Readings in Modern Music, Continuum International Publishing Group Ltd. ISBN: 0826416152
Emmerson, S., 1986. The Language of Electroacoustic Music, Palgrave Macmillan. ISBN: 0333397592
Emmerson, S., 2000. Music, Electronic Media and Culture. Aldershot, Ashgate. ISBN: 0754601099
Landy, L., 2007. Understanding the Art of Sound Organization, MIT Press. ISBN: 9780262122924
Nyman, M., 1999. Experimental Music: Cage and Beyond 2nd ed., Cambridge University Press. ISBN: 0521653835
Schafer, R.M., 1994. Soundscape: Our Sonic Environment and the Tuning of the World, Destiny Books. ISBN: 0892814551
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. ISBN: 1852427892
Toop, D., 2001. Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds New Ed., Serpent¿s Tail. ISBN: 1852427434
Tufte, E.R., 2006. The Cognitive Style of PowerPoint: Pitching Out Corrupts Within 2nd ed., Graphics Press. ISBN: 0961392169
Young, R., 2002. Undercurrents: The Hidden Wiring of Modern Music, Continuum International Publishing Group Ltd. ISBN: 0826464505
Wishart, T., 1996. On Sonic Art. Amsterdam, Harwood academic publishers. ISBN: 9783718658473