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Pop, Rock & Electronic Production Techniques & Aesthetics - MUS00113I

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  • Department: Music
  • Credit value: 20 credits
  • Credit level: I
  • Academic year of delivery: 2023-24
    • See module specification for other years: 2022-23

Module summary

The module provides an understanding of the major developments in sound recording technology, technique and aesthetic in popular music (including pop, rock and electronic) since the development of consumer stereo formats. You will become conversant with the concepts of “producer as composer” and “studio as musical instrument”. The module acts as a counterpart to Western Art Music Production Techniques & Aesthetics. The work will be conducted individually. The module concentrates on the practicalities of working in popular music genres and the technical requirements and processing that such formats demand, as opposed to naturalistic recording that one would encounter in western art music. The focus of the module concerns developing approaching to tracking, mixing and mastering that resonate with contemporary pop approaches (e.g. vocal recording, double tracking, specific drum mic techniques, guitar cab micing, sampling archetypes, live tracking vs non-linear tracking, overdubbing techniques, non-linear editing, non destructive and destructive editing, mix parameter automation etc.). It will address both console-based and in-the-box mixing approaches. Finally, it will explore possible approaches to mastering and delivery formats (e.g. DDP).

Module will run

Occurrence Teaching period
A Semester 2 2023-24

Module aims

  • To develop an understanding of the history and development of audio production for pop, rock and electronic (particularly dance and dance-derived) music genres.
  • To provide experience in individual production work: building a portfolio of audio creations that demonstrate an understanding of modern production aesthetics and an ability to adopt, adapt and innovate to develop a personal production style.
  • To develop technical and critical listening skills relevant to these ‘interventionist’ forms of production.
  • To further develop presentation and discussion skills within the seminar format.

Module learning outcomes

By the end of this module you will:

  • Understand the major developments in sound recording technology, technique and aesthetic in popular musics (including pop, rock and electronic) since the development of consumer stereo formats.
  • Be conversant with the concepts ‘producer as composer’ and ‘studio as musical instrument’.
  • Be able to solely devise and undertake production and post-production of rock, pop and electronic styles and reflect on the outcomes.
  • Be able to make meaningful and useful observations on technical and aesthetic aspects of contemporary and historical popular music productions.
  • Be able to make informed, relevant and insightful contributions, as both leader and participant, to discussion and peer listening seminars.

Indicative assessment

Task % of module mark
Essay/coursework 100

Special assessment rules

None

Additional assessment information

You should present a portfolio of three novel productions that address the three primary genres explored within the module (pop, rock and electronic). These should showcase a range of production styles and techniques. You should accompany your portfolio with a short commentary (1500 words max) that explains your processes and decisions during the production of your portfolio. You should submit:

  • Your finalised/mastered .wavs file(s) at CD standard OR a DDP image of your final mixes at CD standard, all with appropriate labelling.

  • A DAW session of your recording with all source files and additional files included

  • A commentary (1500 words maximum) detailing and critiquing your processes when creating the recorded artefact.

Any additional documentation, routing diagrams, session notes etc. that supports your commentary.

Indicative reassessment

Task % of module mark
Essay/coursework 100

Module feedback

You will receive written feedback in line with standard University turnaround times.

Indicative reading

Burgess, R. J. (2014). The History of Music Production. United Kingdom: Oxford University Press.

Hepworth-Sawyer, R., & Hodgson, Jay editor. (2016). Mixing music / edited by Russ Hepworth-Sawyer, Jay Hodgson. London: Routledge.

Hodgson, J., ProQuest, & ProQuest CSA. (2010). Understanding records: a field guide to recording practice / Jay Hodgson. New York: Continuum.

Massey H. (2009) Behind the Glass, Volume II : Top Record Producers Tell How They Craft the Hits . Backbeat Books.

Moore, A. F. (2001). Rock, the primary text : developing a musicology of rock. United Kingdom: Ashgate.

Moorefield, V. (2005). The Producer as Composer: Shaping the Sounds of Popular Music. United States: MIT Press.

Mynett, M. (2017). Metal music manual: producing, engineering, mixing and mastering contemporary heavy music. New York; London: Routledge.

Wishart, T. (1994). Audible Design: A Plain and Easy Introduction to Practical Sound Composition. United Kingdom: Orpheus the Pantomime.


The information on this page is indicative of the module that is currently on offer. The University constantly explores ways to enhance and improve its degree programmes and therefore reserves the right to make variations to the content and method of delivery of modules, and to discontinue modules, if such action is reasonably considered to be necessary. In some instances it may be appropriate for the University to notify and consult with affected students about module changes in accordance with the University's policy on the Approval of Modifications to Existing Taught Programmes of Study.