catabolism
Global Electronic Music I Syllabus Spring 2023
Global Electronic Music I
This studio course explores a curated selection of electronic music from cities like NYC, Mexico City, London, Cape Town, and Tokyo, using music theory and composition as lenses. The study of global electronic music calls for varied approaches in critically examining this music within a post/neo-colonial context. Students will engage in discussions about the studio environment and the digital audio workstation (DAW) as tools for composition and improvisation, while also considering the music as a form of innovation, communication, and historiography within global communities in the Information Age.
Global Electronic Music I Syllabus Spring 2024
Course Objectives
Global Electronic Music I Syllabus Spring 2023
Upon successful completion of this course, the student will be able:
Critical Context
To contrast and compare the traditional roots, global cross-influences, and innovation of global electronic music creators (including producers, composers and performers) using multimedia materials (music, music videos, live performance recordings, interviews and reviews);
describe and breakdown required audio/visual materials
To describe and breakdown required audio/visual materials and readings that require inclusive methodologies (such as performance practice, ethnomusicology, hip-hop studies, African-American and African diaspora studies, and decolonization studies); relate this knowledge through class discussion and final presentation; as well as combining this in short responses and a final essay;
combine inclusive music theory skills
To demonstrate and combine inclusive music theory skills, such as transcription; ecological acoustics; and harmonic, rhythmic and spectral analysis;
compose & Produce a track
To compose music with at least one software package of the student’s choice from Audacity, Garageband to ProTools, or Ableton Live (see ‘Hardware & Software Requirements’ section);
final class concert.
To develop their creative practice as research through short composition/improvisation studio production assignments, (solo and in collaboration with others) culminating in a final class concert.
Start Your Journey
Course Requirements
Course Requirements
Finals (30%)
Completion of Weekly Required Materials & Response Pieces (20%)
2. Attendance & Class Participation. (20%)
3. Assignments (20%)
4. Midterm Presentations (10%)
5. Finals (30%)
List of Assignments
- Required reading: Thompson, Ahmir-Khalib, and Ben Greenman. Mo’ Meta Blues. New York: Grand Central, 2013. Online.
- Transcription: Transcribe one of the pieces given at the end of class. You can use software, such as Audacity, to slow the recording down to half-speed (one octave lower), if necessary.
- Music Creator Identity Essay: Contrast and compare different versions of identity as represented by a list, map, or visualization of ten adjectives that describe your identity. For each item, assign a composer, performer or piece of music that correlates for you somehow.
- Write a negative list, a group of elements that you believe does not belong to your identity. Again, for each item, assign a composer, performer, or piece of music. Using the negative list, compose a piece that addresses (e.g. speaks to; sonically draws on or comments on) one of these aspects of identity or artists directly.
- Group Improvisation: Rehearse to perform in class. (Improvisation instruction and practice given in first class).
- Essay: Imagine that you are a parallel you — born in a different time, place (country, planet or dimension), or under different conditions where there is no music notation. Create a new sonic imaginary — using sound, your own new notation — that expresses something essential about your individuality and personality within this context. Make a piece that you and/or your classmates can perform in class. (Duration: at least five minutes.)
- Alternative Rhythm Transcription: Transcribe a piece of electronic music, using one of the ethnomusicological transcription techniques shown in class.
- One-Minute Beat Production: Using the software of your choice, create a track that changes and becomes more rhythmically complex over time.
- Ecological Acoustic Analysis: Using the method described in today’s class.
Midterm Assignment
Music Creation
Create a 1-2 minute piece of electronic music—live, collaborative, solo, recorded, improvised, or composed—using one of the creative methods that we used in class. (If the piece is collaborative, you will accompany the piece with a short written description of your role). You will perform this piece in the final concert, solo or in a group.
Music Analysis
Analyze a piece of music using one or more of the techniques used in class. (2 double-space pages including at least one transcription). Be prepared to make a short presentation in class, with a slide of your visual analysis.
Spectrals Analysis
: Using spectral analysis software, review a piece of music that we have looked at in class.
Final Assignment
In the first two weeks of class, you will meet with the advisor and discuss the geographic location, and music style that you would like to study. If you are unfamiliar with global electronic music, as background research, you can consult online publications, such as Resident Advisor, The Fader, and Pitchfork.
Final Assignment Choice: choose artist for final music analysis, and outline the reason for your choice in NYU Classes. (Please include the previous seed assignment, if not already provided).
Music Creation:
Create a three minute piece of electronic music—live, collaborative, solo, recorded, improvised, or composed—using one of the creative methods that we used in class. (If the piece is collaborative, you will accompany the piece with a short written description of your role). You will perform this piece in the final concert, solo or in a group.
Music Analysis
Write an analysis of a piece of music by the music creator of your choice, using one or more of the techniques used in class. (2-3 single-space pages). Be prepared to make a five-minute semi-formal presentation in class (including audio and/or video of your chosen piece), with slides of your visual analysis, as well as other slide material, such as quotes, key points, and conclusion.
Student Presentations
make a five-minute semi-formal presentation in class (including audio and/or video of your chosen piece), with slides of your visual analysis, as well as other slide material, such as quotes, key points, and conclusion.