Studying at York
Sonic Fictions: Technology, Culture & the Future of Music - MUS00151H
- Department: Music
- Credit value: 20 credits
- Credit level: H
- Academic year of delivery: 2023-24
Module summary
This project traces the history of electronic and computer music by examining parallels between the work of electronic music artists and science fiction themes. It also gives practical knowledge of electronic music technologies and techniques.
Module will run
| Occurrence | Teaching period |
|---|---|
| A | Semester 1 2023-24 |
Module aims
How will music sound in the future? This question has triggered the imagination of musicians, instrument makers, scientists and engineers alike, and has led to innovations in music technology. This project will introduce the musical, technological and cultural contexts of electronic and computer music in the twentieth century. Using Kodwo Eshun’s idea of Sonic Fiction – the intersection between sound and science fiction – we will conceptually link different key artists through science fiction themes (science, technology, space, robots, aliens, future civilisations, etc.). This approach will combine critical thinking, cultural studies and musical analysis. We will also consider a) the context in which the artists discussed developed their creative practice, b) the links connecting experimental and popular electronic music and c) how technological developments shaped the aesthetics of electronic music. We will respond creatively and conceptually to how sound and science fiction may overlap and how music might sound in the future.
In order to identify points of juncture between sound and science fiction, in the seminars we will engage with a series of recordings, texts, films and documentaries on subjects including: sound in fiction; developments before electronic music (innovations in acoustics, electricity, telecommunications, Automata, etc.); early electronic instruments; early twentieth century explorations in sound (Busoni, Futurism, Varèse, Cage, El-Dabh, etc.); musique concrète, elektronische Musik, Afrofuturism; Kraftwerk and krautrock; early computer music; music and sound effects in science fiction films; women in electronic music; Detroit techno, Chicago house and early hip hop; and other contemporary forms of electronic dance music.
We will study the technologies and techniques used by the artists discussed in class in order to understand the principles of creative sound generation, recording and transformation. You will become familiar with a variety of sound processing, synthesis, sampling and analysis techniques and how different hardware and software technologies work.
Module learning outcomes
By the end of the project you should:
1. have become familiar with a diverse range of electronic and computer music from different styles and traditions;
2. demonstrate a critical understanding of electronic and computer music in a cultural context;
3. understand the key techniques and technologies of electronic and computer music;
4. have participated in music technology demonstrations exploring electronic sound generation and manipulation;
5. understand the context in which key electronic and computer music artists developed their music and the links connecting experimental and popular electronic music practices;
6. have engaged critically, conceptually and creatively with intersections between sound and science fiction and the idea of the future of music.
Third years: On completion of the module, in your independent work, you should demonstrate learning outcomes C1-6: https://www.york.ac.uk/arts-creative-technologies/information-for-staff-and-students/music-learning-outcomes/
Module content
You will need to have a basic understanding of DAWs (Logic, Protools, Ableton Live) or willingness to independently learn a DAW.
Indicative assessment
| Task | % of module mark | Group |
|---|---|---|
| Essay/coursework | 100 | A |
| Essay/coursework | 70 | B |
| Essay/coursework | 30 | B |
Special assessment rules
None
Additional assessment information
Option 1: 4000 word essay (100%);
Option 2: creative project (music production, composition, performance or installation) (70%); 1000-1500 written commentary (30%)
Indicative reassessment
| Task | % of module mark | Group |
|---|---|---|
| Essay/coursework | 100 | A |
| Essay/coursework | 70 | B |
| Essay/coursework | 30 | B |
Module feedback
You will receive written feedback in line with standard University turnaround times.
Indicative reading
Albiez, Sean and Pattie, David (eds.) (2011) Kraftwerk: music non-stop. New York: Continuum.
Cox, Christoph and Warner, Daniel (2004) Audio Culture: Readings in Modern Music. London: Continuum.
Eshun, Kodwo (1998) More Brilliant than The Sun: Adventures in Sonic Fiction. London: Quartet Books.
Holmes, Thom (2008), Electronic and Experimental Music: Technology, Music and Culture, New York: Routledge.
Kotsopoulos, Nikolaos (ed.) (2009) Krautrock: Cosmic Rock and its Legacy. London: Black Dog.
Kelly, Caleb (2009) Cracked Media: The Sound of Malfunction, Cambridge MA: MIT Press.
Maconie, Robin (2005) Other Planets: The Music of Karlheinz Stockhausen. New York: Scarecrow Press.
Miller, Paul D. (ed.) (2008) Sound Unbound: Sampling Digital Music and Culture. MIT Press Roads, Curtis (1996) Computer Music Tutorial. MIT Press.
Reynolds, Simon (2013) Energy Flash: A Journey Through Rave Music and Dance Culture, London: Faber & Faber Press.
Rodgers, Tara (2005) Pink Noises: Women on Electronic Music and Sound. London: Duke University Press.
Schaeffer, Pierre (2013) In Search of a Concrete Music, trans. North, C. and Dock, J., University of California Press.
Shapiro, Peter (ed.) (2000) Modulations. History of Electronic Music: Throbbing Words on Sound. New York: Caipirinha Productions.
Sicko, Dan (2010) Techno Rebels: The Renegades of Electronic Funk. Detroit: Wayne State University Press.
Stubbs, David (2014) Future Days: Krautrock and the Building of Modern Germany. London: Faber & Faber Press.
Stockhausen, Karlheinz (1989) Stockhausen on Music. London: Marion Boyars.
Tim, Barr (1998) From Düsseldorf to the Future (with love), London: Ebury Press.