Studying at York
Remix - MUS00212I
- Department: Music
- Credit value: 20 credits
- Credit level: I
- Academic year of delivery: 2024-25
Module summary
This module will explore the history and development of remixes, linking with contemporary remix approaches. It will also give students the opportunity to explore and produce their own remixes.
Related modules
Prerequisites: Students MUST have good experience of sequencers and DAWs (specifically Logic, Ableton, FL Studio, or Cubase only). Module will be assessed in Logic and/or Ableton only. No additional support will be given to students on basic DAW or sequencer operation. A reasonable grasp of music theory (rhythm, key, melody etc.) is recommended.
Module will run
| Occurrence | Teaching period |
|---|---|
| A | Semester 2 2024-25 |
Module aims
Remixes are everywhere… but they’re nothing new. Remixing, and its associated skills (sampling, sequencing, audio processing etc.) have been a key aspect of popular music for over half a century. The term, whilst originally associated with disco and dub, has come to encompass electronic dance music and its various genres, rock, indie, hip hop and commercial pop. Remixing techniques are not merely limited to post production approaches, but can be vitally important for any music producer at any stage of the production process. This module will provide an introduction to remixing and its associated practical skills.
In this module, conceptual and technical approaches to remixes will be explored through listening sessions, discussions and skills demonstrations. In these sessions we will pick apart how remixes were created, the artistic and technical decisions that were made, and the challenges faced by remixers in many instances. The second strand will see students constructing their own remixes from a range of materials. Students will be expected to work within an electronic dance music style, but the genre and specific approaches they take will be at their own discretion. Students will be provided with advice and tutorials to improve their practice.
Module learning outcomes
By the end of the taught part of the project you should be able to:
-
Summarize the historical development of remixing and its associated techniques
-
Differentiate between and analyse possible technical methods deployed in remixes
-
Justify your own approaches to creating remixes from given material, with a view to critically analysing its effectiveness and quality.
-
Select appropriate audio elements to utilize within a remix
-
Produce a remix that employs substantial portions of given material treated and processed with purpose
Second years: On completion of the module, in your independent work, you should demonstrate learning outcomes B1-6 and, depending on submission route, B7, B9, B10 and/or B12. https://www.york.ac.uk/music/undergraduate/modules/learning-outcomes/
Indicative assessment
| Task | % of module mark |
|---|---|
| Essay/coursework | 100 |
Special assessment rules
None
Additional assessment information
You can choose from two options:
Option 1:
- Remix (75% weighting): a remix submitted as mixed audio, making use of techniques learned over the course of the project.
- Written commentary (25% weighting): a commentary explaining the techniques used in the remix, and situating them in the context of the issues of the project.
Option 2:
- Remix (75% weighting): a remix submitted as mixed audio, making use of techniques learned over the course of the project.
- Video explanation (25% weighting): a video presentation explaining the techniques used in the remix, and situating them in the context of the issues of the project.
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
Allen, J. Anthony. Music Theory for Electronic Music Producers: The Producers Guide to Harmony, Chord Progressions, and Song Structure in the MIDI Grid. United States: Slam Academy, 2018.
Brett, Thomas. The Creative Electronic Music Producer. United Kingdom: Routledge, 2021.
Gunkel, David J. Of Remixology: Ethics and Aesthetics After Remix. United Kingdom: MIT Press, 2016.
The Routledge Companion to Remix Studies. United Kingdom: Taylor & Francis, 2014.
Navas, Eduardo. Remix Theory: The Aesthetics of Sampling. Austria: Ambra Verlag, 2014.
Roads, Curtis. Composing Electronic Music: A New Aesthetic. United Kingdom: Oxford University Press, 2015.