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An initial series of group seminars at the start of each term (2 hours per week) will introduce techniques, technology, key concepts and terminologies as well as discussing strategies for the implementation of technical ideas in a creative context. Students will be encouraged to develop an understanding of the context of their work. Later in the term, students will work have four weeks of directed study on focused tasks, where students will receive guidance on compositional skills. Total contact hours is 30, and total study hours is 300.
1) Music Technology Portfolio (covering software, audio systems, performance and production techniques)– 80% (learning outcomes 1, 2, 4, 5)
2) Written evaluation, c. 2,000 words – 20% (learning outcomes 1, 3, 4, 5)
Borwick, J., (ed.) 1994: Sound Recording Practice (OUP, Oxford)
Campbell, M. & Greated, C., 1990: Psychoacoustics (Heinemann, London
Cook, PR. Music, Cognition and Computerized Sound (MIT, 1999)
Gibbs, Tony, 2007: The Fundamentals of Sonic Art & Sound Design (Sussex: AVA Publishing)
Howard, D. & Angus, J., 2006: Acoustics and Psychoacoustics (Focal, London)
Hunt, Andy, and Ross Kirk, 1999: Digital Sound Processing for Music and Multimedia (Bath: Focal Press)
Huber, D., 2001: Modern Recording Techniques (Focal, Oxford)
Miranda, Eduardo, 2002: Computer Sound Design: Synthesis Techniques and Programming (Oxford: Focal Press)
Roads, Curtis, 1996: The Computer Music Tutorial (USA: MIT Press)
Rumsey, F., 2004: The digital interface handbook (Focal, Oxford)
Rumsey, R Spatial Audio (Oxford, 2001)
Sonnenchein, D Sound design: the expressive power of music, voice and sound effects in cinema (CA, 2001)
Zölzer, Udo, 2008: Digital Audio Signal Processing, 2nd edition (Chippenham: WileyBlackwell)
Zwicker, E Psychoacoustics: facts and models (Berlin, 1999)
See the library reading list for this module (Medway)
12. The intended subject specific learning outcomes and, as appropriate, their relationship to programme learning outcomes
1. To evaluate the nature and significance of various aspects of music technology, including programming, production, performance and spatialisation techniques (A1, B2)
2. To explore advanced techniques in individual work (A2, C1)
3. To be able to present, analyse and discuss original work referring to specific terminology and traditions (B1, C3)
13. The intended generic learning outcomes and, as appropriate, their relationship to programme learning outcomes
4. To develop clear concepts and ideas when presented with complex situations and conflicting information (D2)
5. To be able to produce original work and communicate this to an audience (C1, C3)
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