IDEAS AND PROCESSES: ASSESSMENT STRUCTURE
Week 5: Minor Composition (Spectral, Microtonal and Acoustic Phenomena) - 15%
Submission: Week 5 – 17:00 Wednesday 19th August, firstname.lastname@example.org
Write a 3-6 minute study which explores one or more of the following approaches to frequency in significant technical detail:
- Equal Temperaments other than 12-tone ET, particularly those that allow more accurate approximations of just (Whole Number Ratio) intervals, allowing spectral fidelity
- Frequency structures whose (just/WNR) intervals are based on the proportions of the overtone series
- Frequency structures the re-present or re-synthesise inharmonic configurations taken either from numerical transformations of the overtone series or from naturally occuring inharmonic spectra (for example, as found in various metallophones)
- Frequency structures that abstract numerical data (or other extra-musical data abstracted in numerical) onto the frequency spectrum (rather than the keyboard)
- Frequency structures used as modulatory devices (ie. interacting with other frequencies in a way that compels timbral transformation and/or misperception)
- Frequency structures used to excite acoustical phenomena (such as beating) or psycho-acoustical phenomena (such as difference tones)
- Frequency structures that interface with specific acoustical objects or spaces
Submit your composition alongside 500-750 word analytical notes, including descriptions of technical processes and formal rationale. The composition may draw on any instrumentation or performance practice. There is no need for a written score. Compositions will be presented in class with a short accompanying verbal description and rationale.
Clearly demonstrated understanding of, and ability to articulate, at least one approach to microtonal, spectral and acoustic phenomena discussed in classes (5%)
Considered, convincing relationships between selected approaches/phenomena and the materials, form and modes of development used in the composition (5%)
Cogent accompanying written rationale, accurately describing relevant phenomena, approaches used, and critical evaluation of the relationship between intention and results of the composition (5%)
Week 10: Minor Composition (Organ) - 15%
Submission: Week 10 -17:00 Wednesday 30th September, email@example.com
Week 12: Major Composition (Process) - 30%
Submission: Week 12 -17:00 Wednesday 14th October, firstname.lastname@example.org
Write a 6-10 minute study based on a single unfolding process. Your chosen process may be of any kind, but should be sufficiently sophisticated, and should govern the entirety of the work’s content and development. Consider: A) the relationship between the process you use and the materials and modes of development used to demonstrate it; B) the expressive or aesthetic qualities of the process you use; C) Whether the process you use is:
- Generative or Transformational
- Goal-directed or Rule-directed
- Indeterminate or Determinate
- Material-based or Interaction-based
Ability to conceive of and realise a sufficiently sophisticated generative or transformative process (10%)
Considered, convincing relationships between selected approaches/process and the materials, form and modes of development used in the composition (10%)
Cogently articulated written rationale, accurately describing relevant phenomena, approaches used, and critical evaluation of the relationship between intention and results of the composition (10%)
Possible models to consider:Derek Bailey – Carpal TunnelClarence Barlow – UntilWilliam Basinski – The Disintegration LoopsSamuel Beckett – QuadBrian Eno – Music for AirportsMamoru Fujieda – Patterns of PlantsGyorgy Ligeti – Symphonie MechaniqueAnnea Lockwood – Piano Transplants 1: Burning PianoAlvin Lucier – I am Sitting in a RoomStelios Manousakis – Examples 1, 2 & 3
Week 8: Analytical Essay - 25%
Write an analytical essay of two to three thousand words examining:
- one musical work that has been looked at in class, or a work that has not been looked at but that is by a person whose work we have looked at (confirm work with me) or a work by a person who is connected to a person whose work we have looked at (confirm both person and work with me).
The essay should examine one or two aspects of the work in great detail, these aspects could be related to particular patterns of durations, tones, timbres, phrases, gestures, etc. or to the interaction of a number of patterns.
- one stylistic practice or technical approach informed by acoustical phenomena that has been looked at in class, its associated body of work (involving significant analytical detail of at least associated one musical work) and surrounding literature
The essay should reference the relevant existing literature. It should not contain un-attributed quotations.
The essay should include annotated score extracts or spectral drawings, tables, figures, diagrams, etc. as appropriate.
The essay does not need to indicate significant new research, it does need to indicate a thorough understanding of the techniques and processes it examines and how they are articulated in the work or literature studied.
The essay should be typeset in at least 10pt and follow an appropriate style manual (MLA, Chicago, etc.).
Submission: Week 8 - Thurs 17th September, email@example.com
Ongoing (Weeks 2-12): Reading Responses (Blogs) - 10%
Weekly 300 word (min) responses to readings and class materials.
- How could this line of inquiry be furthered?
- What ramifications could these materials have for both practitioners and listeners?
- What questions are you left with?
Ongoing (Weeks 2-12): Reading Responses (Class Presentation) - 5%
1x 5-10 minute verbal presentation in class on an assigned reading.
- What questions are you left with?
Week 3 - Thurs 6th August: Talia Raso,
Week 4 - Thurs 13th August: Blaise Adamson, David Coen
Week 5 - Thurs 20th August: (Creative Presentations)
Week 6 - Thurs 27th August: (no presentations)
Week 7 - Thurs 10th September: Matt Greenwood, Connor McCloud-Gibson, Andrew Godard
Week 8 - Thurs 17th September: Gillian Lever, Andrew Woodgate
Week 9 - Thurs 24th September: Darcy Wedd, Matt Connolly, Sara Retallick
Week 10 - Thurs 1st October: Josh Peters, Ash Bartholemew
Week 11 - Thurs 8th October: Tara Milenkovic, Kiah Atkinson, Keith Clancy
Week 12 - Thurs 15th October: (Creative Presentations)