Learning Outcomes: (maximum of 5 statements)Īt the end of this module the student will be able to:ĭemonstrate extensive, detailed and critical knowledge and understanding of collaborative songwriting practice or by Distance Learning (D/L) (ie.Virtual Campus): (Provided viable student The module will normally be offered on the following campuses If an online programme has any compulsory face-to-face and campus elements it must be described as blended with clearly articulated delivery information to manage student expectations A programme may be considered “blended” if it includes a combination of face-to-face, online and blended modules. This term is used to describe the previously used terms distance learning and e learning.Ī mode of delivery of a module or a programme that involves online and face-to-face delivery of learning, teaching and assessment activities, student support and feedback. Instruction that is solely delivered by web-based or internet-based technologies. Term used to describe the traditional classroom environment where the students and the lecturer meet synchronously in the same room for the whole provision.
Tunesmith v3 series#
Assessment will focus on the quality of songs produced, the ability of students to develop collaborative writing at the forefront of creative practice and the quality of critical reflection evidenced both in critique sessions and in an accompanying series of blog posts. Students will attend workshops, responding to a series of tasks designed to support the development of effective collaborative songwriting practice, producing a range of new material and engaging in extensive and detailed critique sessions with tutors. Songwriting Workshop replicates the environment of the collaborative song-house common within the music industry and supports students through an intensive series of co-writing workshops. Support JSTOR Daily! Join our new membership program on Patreon today.(Scottish Credit and Qualifications Framework) It’s up to us humans to demand more from our machines. Even today, tension remains between the power technology has in homogenizing musical culture and in providing niche musicians the ability to hear and meet each other. Indeed, this reflects his 1950s perspective, when the big record companies seemed to be leading society toward lowest common denominator “ Muzak.” But it also optimistically forecasts the more democratic attitudes of the 1960s counterculture, of which early synthesizer builders like Moog were a part. Laudadio thus concludes that the repressive aspects of electronic music were the fault of social attitudes and not something inherent in the technology. Musicians everywhere are breaking their synthesizers and audiences are turning off their televisions and going to live performances again. By the time the guild has had Baque imprisoned (they frame him for murder), it is too late. He modifies the machine further and begins playing music in underground concerts that awaken strong emotions, even sexuality, in listeners. Forced to play a honky-tonk multichord in a dive bar, he discovers that its broken, out-of-tune filters allow for much more personal expression. The protagonist, Baque (a none-too-subtle reference), is a composer who is too committed to the quality of his tunes and thus is fired for returning assignments late. The guilds, in fact, have all but banned acoustic instruments, because they cannot control the emotional effect they have on listeners. Human composers make this music, but settings on their synthesizers (the “multichord”) and the operations of musical guilds strictly constrain their creative choices. “The Tunesmith” is a grounded satire of these attitudes, set in a authoritarian near-future where the only music still consumed by the public is commercial jingles. Laudadio investigates these attitudes by looking to science fiction stories from the 1950s, Charles Harness’ novella “The Rose” (1953) and Lloyd Biggle, Jr.’s short story “The Tunesmith” (1957), that imagined scenarios in which electronic music threatened human culture. Many feared being replaced, either as performers or as composers, by computer processes. It’s no surprise, then, that the biggest skeptics of electronic music were musicians themselves.
Many musicians feared being replaced, either as performers or as composers, by computer processes.
0 kommentar(er)
