Rhedir gan School of Arts, Culture and Language
20.000 Credydau neu 10.000 Credyd ECTS
Trefnydd: Prof Andrew Lewis
To compose acousmatic 'sonic art' using sound as the creative medium, and digital studio technology as the means.
To encourage bold artistic experimentation and the development of musical ideas beyond conventional notions of 'music'.
Through composition, to explore the possibilities of a variety of innovative digital technologies and to become adept in their use.
To study the compositional techniques of a variety of acousmatic composers, and to apply the lessons learned to the composition of original musical works.
To consider aesthetic, philosophical and musicological issues of relevance to acousmatic composition, and to explore the implications of these through the act of composing.
To contribute to the personal development of student composers through the development of their creativity as individuals.
The word ‘acousmatic’ describes something we can hear but not see. Acousmatic Music is experimental sonic art which uses sound as its raw material, and multiple loudspeakers as its mode of delivery. It has been described as the art of projected sounds which is “shot and developed in the studio, projected in halls, like cinema”.
This module aims to develop your skills in acousmatic composition. It has a creative emphasis, and seeks to equip you with the basic technological, compositional and aesthetic knowledge and understanding necessary for acousmatic composition
The composition displays some limited creative imagination, with restricted control of musical materials, and minimum understanding of the capabilities of acousmatic resources. There is scant evidence of a generally intellectual approach.
The composition displays a good level of creative imagination, with good control and elaboration of musical materials, based on technical competence in use of acousmatic resources. There is also evidence of intellectual acumen.
The composition displays a high level of creative imagination, with emergent individuality of compositional voice, skilful control and elaboration of musical materials, and technical mastery of acousmatic resource. There is also evidence of high level of ability at conceptual thought, penetration of issues, originality of approach and/or insight.
Work effectively with sonic materials and resources.
Work effectively with the tools and techniques of the composition studio.
Critically evaluate one's own work.
Compose with a degree of creative independence.
Apply an understanding of acousmatic music theory and concepts to creative work.
Compose acousmatic music which offers an engaging listening experience.
|COURSEWORK||Coursework 1 - Recording and Developing Sources||
Part 1 – source recording and editing
Submit TEN examples of original ‘sound-objects’ you have recorded for this semester’s composition, properly edited (‘topped-and-tailed’)
These need not be ten different physical sound-producing objects, you might produce ten interesting ‘sound-objects’ from just one physical object.
They need not be ten very different sound-objects. For example, you might submit three versions of striking the same physical metal object to produce similar but clearly different resonances with different distributions of partials (‘harmonics’). These would be three different ‘sound-objects’.
Essentially the question to ask is whether including two or more versions of the same type of sound really increases the musical possibilities open to you when composing.
Part 2 – source development
Choosing just ONE of the ten sound-objects submitted above, submit FIVE examples of that one sound-objects processed or transformed in different ways PLUS FIVE further transformations of just ONE of the first five.
|COURSEWORK||Coursework 2 - Gesture, texture and articulation||
Create a study of between 1 min 30 sec and 2 min in duration, in stereo. Your study should contain some sections which are ‘gesture carried’ and some which are ‘texture carried’. You should connect these sections together using articulating gestures.
For example, your study might have the following structure:
GESTURAL * TEXTURAL * GESTURAL * TEXTURAL * TEXTURAL* GESTURAL * TEXTURAL
(* indicates an articulating Gesture)
You should ALSO submit a Word or PDF document containing a simple graphic score of your study. This should be labelled to show the gestural and textural sections, and the location of the articulating gestures.
|DEMONSTRATION/PRACTICE||Main Assignment - Acousmatic Composition||
Compose a piece in 8-channels, of 3 to 5 minutes duration (WXK-2235) or 5 to 7 minutes duration (WXK-3235) which makes full use of the unique possibilities the acousmatic medium
Also submit a brief ‘programme note’ for your piece (about 100-200 words)
Strategaeth addysgu a dysgu
11 weekly studio-based lectures of 1.5 – 2 hours. Other classes coinciding with an acousmatic concert or the visit of a composer or ensemble may also be arranged as appropriate.
11 weekly studio-based seminars of 1 hours
- Computer Literacy - Proficiency in using a varied range of computer software
- Self-Management - Able to work unsupervised in an efficient, punctual and structured manner. To examine the outcomes of tasks and events, and judge levels of quality and importance
- Exploring - Able to investigate, research and consider alternatives
- Critical analysis & Problem Solving - Able to deconstruct and analyse problems or complex situations. To find solutions to problems through analyses and exploration of all possibilities using appropriate methods, rescources and creativity.
- Safety-Consciousness - Having an awareness of your immediate environment, and confidence in adhering to health and safety regulations
- Self-awareness & Reflectivity - Having an awareness of your own strengths, weaknesses, aims and objectives. Able to regularly review, evaluate and reflect upon the performance of yourself and others
Rhestr ddarllen Talishttp://readinglists.bangor.ac.uk/modules/wxk-2235.html
Cox, Christoph, and Daniel Warner (Eds.), Audio Culture: Readings in Modern Music (New York, NY: Bloomsbury Academic, 2017) Collins, Nick, Julio d’Escrivan, The Cambridge Companion to Electronic Music (Cambridge: Cambridge University Press, 2007) Demers, Joanna Teresa, Listening through the Noise: The Aesthetics of Experimental Electronic Music (New York: Oxford University Press, 2010) Emmerson, Simon, Living Electronic Music (Aldershot, Hants, England: Ashgate, 2007) ———, The Language of Electroacoustic Music (London: Macmillan, 1986) Expanding the Horizon of Electroacoustic Music Analysis (Cambridge, UK: Cambridge University Press, 2016) Kane, Brian, Sound Unseen: Acousmatic Sound in Theory and Practice (New York, NY: Oxford University Press, 2014) Moore, Adrian, Sonic Art: An Introduction to Electroacoustic Music Composition (New York, NY: Routledge, 2016) Schaeffer, Pierre, In Search of a Concrete Music (Berkeley, Calif: University of California Press, 2012)Wishart, Trevor, Audible Design: A Plain and Easy Introduction to Practical Sound Composition (York: Orpheus the Pantomime, 1994) Wishart, Trevor, and Simon Emmerson, On Sonic Art, New and rev. ed (Amsterdam: Harwood Academic Publishers, 1996)
Articles Francis Dhomont, ‘Acousmatic Update’, Contact! (8(2), 1995) pp. 49-54. Jonty Harrison, ‘Sound, space, sculpture: some thoughts on the what,how and why of sound diffusion’, Organised Sound (3(2), 1998), pp. 117–127. Denis Smalley, ‘Spectromorphology: Explaining sound-shapes’, Organised Sound 2(2), 1997) pp. 107–126. ––––––, ‘Space-Form and the Acousmatic Image’, Organised Sound (12(1), 2007) pp. 35-58. Simon Emmerson, ‘Aural Landscape: musical space’, Organised Sound (3(2), 1999) pp. 135- 40.
(For further listening, visit http://www.electrocd.com)
Francois Bayle Toupie dans le ciel (1979)
Manuella Blackburn Time Will Tell (2013)
Christian Calon Portrait d’un visiteur (1985)
Francis Dhomont Points de fuite (1982)
Paul Dolden Veils (1984-85)
Gilles Gobeil Le vertige inconnu (1993-94)
Jonty Harrison Klang (1982)
Jonathan Harvey Mortuous Plango, Vivos Voco (1980)
Robert Normandeau Rumeurs (Place de Ransbeck) (1987)
Bernard Parmegiani De natura sonorum (1975)
Åke Parmerud Repulse (1986)
Denis Smalley Pentes (1974), Wind Chimes (1987)
Trevor Wishart Encounters in the Republic of Heaven (2011)
Rhagofynion a Chydofynion
Rhagofynnol ar gyfer:
Cyrsiau sy’n cynnwys y modiwl hwn
Gorfodol mewn cyrsiau:
- W3P3: BA Astudiaethau'r Cyfr & Cherdd year 2 (BA/ACC)
- WW93: BA Creative Studies and Music year 2 (BA/CSTMUS)
- 32N6: BA English Literature and Music year 2 (BA/ELM)
- 32N7: BA English Literature & Music with International Experience year 2 (BA/ELMIE)
- VW23: BA Hanes Cymru a Cherddoriaeth year 2 (BA/HCAC)
- VW13: BA History and Music year 2 (BA/HMU)
- VW14: BA History and Music with International Experience year 2 (BA/HMUIE)
- WW39: BA Music and Creative Writing with International Experience year 2 (BA/MCWIE)
- W3H6: BA Music and Electronic Engineering year 2 (BA/MEE)
- WV33: Music & Hist & Welsh Hist (IE) year 2 (BA/MHIE)
- W303: BA Music (with International Experience) year 2 (BA/MIE)
- PW33: BA Media Studies and Music year 2 (BA/MSMUS)
- RW13: BA Music/French year 2 (BA/MUFR)
- WR32: BA Music/German year 2 (BA/MUGE)
- WR33: BA Music/Italian year 2 (BA/MUIT)
- W300: BA Music year 2 (BA/MUS)
- WW38: BA Music and Creative Writing year 2 (BA/MUSCW)
- W30F: BA Music [with Foundation Year] year 2 (BA/MUSF)
- WW36: BA Music and Film Studies year 2 (BA/MUSFS)
- WR34: BA Music/Spanish year 2 (BA/MUSP)
- W3W4: BA Music with Theatre & Performance year 2 (BA/MUSTP)
- VVW3: BA Philosophy and Religion and Music year 2 (BA/PRM)
- VW2H: BA Welsh History and Music year 2 (BA/WHMU)
- QW53: BA Cymraeg/Music year 2 (BA/WMU)
- W304: BMus Music (with International Experience) year 2 (BMUS/MIE)
- W302: BMUS Music year 2 (BMUS/MUS)
- W32F: BMus Music [with Foundation Year] year 2 (BMUS/MUSF)
- H6W3: BSc Electronic Engineering and Music year 2 (BSC/EEM)