Acousmatic Composition Lesson Plan

1

lesson 1

Discussion: Introduction to acousmatic music through playing the repertoire: Dhomont, Normandeau, Smalley.

Diffusion: hands on examples with a 4 or 8 track setup. (includes setting up and striking down the sound rig)

To Do: (1) Collect sounds to show and test in diffusion next week. (2) Read pages 232-236 of the Cambridge Companion to Electronic Music: Trends in Electroacoustic Music by Natasha Barrett. (3) Listen to a piece by either Dhomont, Normandeau or Smalley and write a brief, informal appraisal in your Blog.

2

lesson 2

Diffusion: We listen to collected sounds and the students demonstrate how these sounds could be diffused.

Discussion: How effective were the sounds? Does diffusion influence the way we collect sounds? Reduced Listening. The Emmerson compositional model, illustrating the musical creative process.

To Do: (1) Continue to collect sounds that you may use to create your own acousmatic music. You can hire handheld solid-state recording equipment from Media Services (Coslett 103/4) to capture environmental sounds. (2) Read pages 236-240 of the Cambridge Companion to Electronic Music: Trends in Electroacoustic Music by Natasha Barret. (3) Group (i) students go to the library, listen to different composers of acousmatic music and choose two pieces to discuss/showcase in next week’s class.

3

lesson 3

Discussion: Group (i) students present the two pieces they have chosen, and we study the techniques used in these pieces.

Diffusion: We play the two pieces chosen by Group (i) students and test different diffusion strategies.

To Do: (1) Sound collection continues. (2) Read pages 240-246 of the Cambridge Companion to Electronic Music. (3) Group (ii) students go to the library, listen to different composers of acousmatic music and choose two pieces to discuss/showcase in next week’s class.

4

lesson 4

Discussion: Group (ii) students present the two pieces they have chosen, and we study the techniques used.

Diffusion: We play the two pieces chosen by Group (ii) students and test different diffusion strategies.

To Do: (1) Sound collection continues.  (2) Group (iii) students go to the library, listen to different composers of acousmatic music and choose two pieces to discuss/showcase in next week’s class.

5

lesson 5

Discussion: Group (iii) students present the two pieces they have chosen, and we study the techniques used.

Diffusion: We play the two pieces chosen by Group (iii) students and test different diffusion strategies. We reflect on the last two weeks and decide what we could incorporate in our own work.

To Do: Variation technique: the HiLoShortLong exercise. Using a single source sound, create a one-minute piece for live diffusion over 4 channels, using only transposition (HiLo), time stretching/compression (ShortLong), truncation or repetition of the original source. You should consider carefully how you intend to diffuse each part of this short piece while you are creating it.

6

lesson 6

Diffusion: Each student diffuses their own HiLoShortLong piece.

Discussion: Abstract narratives. The principle of Call-and-Response is explained, and illustrated in D’Escrivan’s Salto Mortal.

To Do: Students formally begin Composition 1, incorporating HLSL and Call-and-Response into their own work.

7

lesson 7

Diffusion: Students may diffuse sections of their developing work, or may choose to work privately.

Discussion: Open critique of work diffused by students. Individual tutorials on their work-in-progress.

To Do: Students continue to work on Composition 1 in preparation for its performance and formal assessment in week 8.

8

lesson 8

Diffusion: Formal Assessment of Composition 1, diffused live over 4 channels in Hel.029.

To Do: (1) Reflect on the success of your own work in performance, and on the work of your fellow students. (2) Start to investigate 5.1 surround-sound in Logic Pro.

9

lesson 9

Diffusion: Demonstration, using Logic Pro, of automated diffusion in 5.1 surround-sound.

Discussion: The advantages and disadvantages of automated diffusion compared to live diffusion.

To Do: Students formally begin Composition 2. They are reminded of the need to create a piece which contrasts with Composition 1: both by using contrasting sound sources, and by employing a contrasting approach to form. Students are expected to continue working on this piece during the Easter Vacation.

10

lesson 10

Diffusion: Students present excerpts from their Composition 2.

Discussion: We discuss how successfully students have managed to achieve a contrast with Composition 1, discussing sound sources and structure.

To Do: Students continue to work on Composition 2.

11

lesson 11

Diffusion/Discussion: Individual tutorials on Composition 2. Advice on final presentation and mastering techniques.

To Do: Finalise Composition 2.

12

lesson 12

Diffusion/Discussion: Individual tutorials on Composition 2. Advice on submission of both compositions, and the completed blog. Brief reflection on the course and student work.

To Do: Finalise blog. Prepare Compositions 1 & 2 for submission to the i-Centre by 5pm on Wednesday 12th May 2010.