Week 3

Lecture

3 : Musique Concrète

Musique Concrète, reduced listening and the early studios

Listening:

Reading:

Online:

 


 

Workshop

Library induction

Written submission general comments:

  • How the university marking scheme works – criteria for assessment of written work.
  • Other criteria.
  • Make sure you use a proper title and a clear structure (not necessarily with headings)
  • Align text to the left and double-space lines
  • Avoid colloquialisms and clichés
  • Avoid ‘journalese’
  • Avoid highly generalised statements
  • Do not use unsubstantiated statements – even if they seem evidently true to you
  • Avoid the ‘we’re at the most advanced point in history’ attitude: most people feel this at their point in history, so the likelihood is that our time could also at some point be described in this way.
  • Try to form your thoughts into a flowing and coherent structure
  • Provide and reference examples of what you mean
  • If your sentence is more than a few clauses long consider breaking it up.
  • It is a good idea to get someone else to read through your work for you.  You should encourage them to make suggestions and criticisms.
  • Above all, spend as much time editing your material as writing it.  Probably more!
  • You may find the material at Study Skills Plus helpful.

Facebook contributions

Musique Concrète

  • Read: Cox & Warner Chapter 14: ‘Acousmatics’, Pierre Schaeffer (1966): cox_warner_ch14
  • Listen: Jonty Harrison Unsound Objects (1995) or Denis Smalley Pentes (1974)
  • Debate: Music can only be music if it has a melody.
  • Write: Written Assignment 3: Reduced Listening (assessed item): week-3-assignment-critical-skills
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