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MUSI3040 Electroacoustic Music
Course Type: disciplinary elective for music majors/minors, free elective for others
Prerequisite: MUSI2085 or instructor’s consent
Instructor: Dr. Vanissa LAW
Semester: First Semester 2021/22
Time: 10:30am-12:20pm, Thursday
Venue: CPD-LG1.22/LG1.21 Rehearsal Room & Electroacoustic Studio
This course explores both historical and current creative approaches in electroacoustic music through a variety of research and composition projects. Composers, repertoires, techniques, stylistic and aesthetic trends from approximately 1900 to present will be covered.
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Course Learning Outcomes
Assessment Methods
Topics
Text & Resource Materials
Upon successful completion of this course, students will be able to:
  • demonstrate an understanding of the historical and aesthetic aspect of electroacoustic music;
  • demonstrate the ability to apply knowledge of electroacoustic music to own compositions.
Presentations (EAM composers and repertoire) 10%
In-class Quizzes 10%
Composition (fixed media) 35%
Programming exercises (MINI-MAX patch) 10%
Composition (Interactive, live performance) 35%
  • review of digital audio basics
  • history of electroacoustic music
  • EAM before 1950: prominent electroacoustic music composers and their music
  • EAM after 1950: prominent electroacoustic music composers and their music
  • digital revolution and interactivity: evolution of controllers and systems
  • a new form: laptop orchestra
  • algorithmic compositions and generative art
  • programming for interactive sound: MIDI and MAX basics
  • programming for interactive sound: MSP basics
  • programming for interactive visuals: Jitter
  • sound art
  • the NIME (new interfaces for music expressions) community
  • Peter Manning, Electronic and Computer Music.
  • David Sonnenschein, Sound Design.
  • Christoph Cox & Daniel Warner, ed., Audio Culture: Readings in Modern Music.
  • Mark Katz, Capturing Sound: How Technology Has Changed Music.
  • Seth Kim-Cohen, In the Blink of an Ear: Toward a Non-cochlear Sonic Art.
  • Salomé Voegelin, Listening to Noise and Silence: Towards a Philosophy of Sound Art.