Accessibility statement

Sequencing, Synthesis and Sampling - MUS00187C

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  • Department: Music
  • Credit value: 20 credits
  • Credit level: C
  • Academic year of delivery: 2023-24
    • See module specification for other years: 2024-25

Module summary

This module covers the basic creative skills and processes that operate in most contemporary production/audio environments. The module will cover the background to some of the three core technologies: sequencing, synthesis and sampling. The module encompasses MIDI (e.g. control and program changes, sysex, MPE), binary and hexidecimal representations of data, analogue subtractive and additive synthesis, a selection of digital synthesis techniques (e.g., wavetable, FM, modelling), sync methodologies (e.g. MIDI time code, MIDI machine code, CV) in addition to sampling, time stretching, looping, and standard sequencing skills.

Module will run

Occurrence Teaching period
A Semester 1 2023-24

Module aims

  • To introduce the key aspects of sequencing, synthesis and sampling processes that are required for a comprehensive and transferable understanding of contemporary music production.

  • To provide practical experience of sequencing, synthesis and sampling techniques.

  • To describe and explain the socio-musicological developments of these technologies in a historical context and with reference to popular and western art music.

Module learning outcomes

By the end of this module, you will be able to:

  • Understand and explain the technical processes by which sequencing, synthesis and sampling processes occur.

  • Demonstrate sequencing, synthesis and sampling techniques as part of a recording or sonic artefact

  • Understand the historical social and technological contexts in which sequencing, synthesis and sampling were developed and their impact on music making and society.

  • Identify and review contemporary uses of sequencing, synthesis and sampling technologies in popular and western art music.

Indicative assessment

Task % of module mark
Essay/coursework 40
Essay/coursework 60

Special assessment rules

None

Additional assessment information

Summative 1: You will prepare a short essay (1500 words) presenting a historical review of one of the three key technologies explored within this module, and the possible implications for society and music making. You may wish to consider one facet of the technology e.g. wavetable synthesis or Akai’s MPC samplers in hip hop.

N.B Summative 1 will be partially prepared in conjunction with Core Skills for Sound Production & Recording. The initial draft 500 word introduction will be presented as part of the Research Skills Bootcamp with a revised and extended full essay presented for Summative 1 for this module.

Summative 2: You will prepare a 3-5 minute musical artefact that demonstrates sequencing, synthesis and sampling technologies in action. The piece can be original or already extant (i.e. a cover), but must be generated primarily using synthesis and sampling technologies, and sequenced. ‘Live’ audio recordings can be included but will not be assessed. You should submit:

  • Your sequencing session file.
  • Your finalised/mastered .wav file(s) at CD standard with appropriate labelling.
  • All accompanying audio and samples used in your sequence.
  • A commentary (1500 words maximum) detailing and critiquing your processes when creating the recorded artefact.
  • Any analysis files or additional data required to run your sequence.

Indicative reassessment

Task % of module mark
Essay/coursework 40
Essay/coursework 60

Module feedback

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

Indicative reading

Huber, David Miles. (2020). The MIDI Manual: A Practical Guide to MIDI within Modern Music Production. Oxford: Routledge.

Martin, Russ. (2008). Sound Synthesis and Sampling. Oxford: Focal Press.

MIDI Manufacturers Association, The. (1996). The Complete MIDI 1.0 Detailed Specification 96.1. Los Angeles: MMA.

Roads, Curtis. (1996). The computer music tutorial. Cambridge, Mass. ; London: MIT Press.

Rumsey, Francis. (2021). Sound and Recording: Applications and Theory. Oxford: Routledge.

Shapiro, Peter. and Lee, Iara. (2000). Modulations : a history of electronic music: throbbing words on sound. New York: Caipirinha Productions.

Shelvock, M. T. (2020). Cloud-based music production : sampling, synthesis, and hip-hop. 1st ed. London : Routledge.

Stubbs, David. (2018). Mars by 1980: the story of electronic music. London : Faber & Faber.


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.