Music, Technology and Ideas invites you to consider music and associated arts – especially but not exclusively sound arts – in relation to the world of ideas and practices.
It encourages you to explore how and why we make music; how we conceive of it; how it might have originated; and how it relates to technologies, including instrument technologies, notations, and means of dissemination. We will consider how we perceive and receive music, and what its uses and effects are.
This studio aims to encompass a wide range of music- and sound-related disciplines and modes of work. Although initially conceived with students of the BSc Music Technology and BSc Musical Instruments courses in mind, Music, Technology and Ideas (Studio 15) welcomes from all courses students who share any of these interests, and seeks ways of working in which the benefits of embracing a wide range of interests and backgrounds are explored and realised.
Several initial themes are proposed:
- the creation and dissemination of music in the digital era
- musical instrument design: form, acoustics and ergonomics
- quantitative methods: capturing and analysing data
- soundscapes of the air and mind
- psychological aspects of sound and music
- musical instrument histories: technical, social, cultural and political
After weeks 1 and 2, in which general and individual topics will be considered and discussed, we may cluster into groups according to themes and mode of work. Shared or parallel activities, which may extend beyond week 7, may include: field recording trips, site visits, laboratory experimentation, archive visits, and training in particular research methods and techniques.
Do three of the following:
- Voices and instruments: consider how voices (and vocal practices) and instruments (and instrumental practices) relate to one another in music. Listen to some examples – the choice is yours, but be adventurous – and make some initial comparative notes for us to discuss.
- In the field: plan a short walk through varied sound environments, making brief notes of what you hear at several points. On the return journey, make short (e.g. one-minute) recordings (it would be nice to have fancy equipment but it’s likely that your phone will do) at the same points (and others if you hear something interesting). How do your initial observations and your recordings compare?
- Visualising and measuring sound: download a basic sonogram app, such as Spectral Pro Analyzer or Androspectro, to your phone; go for a walk though varied sound environments (keep an eye on the traffic as well as the spectrogram), or make a journey by bus, and observe keenly the varying intensities and densities of the sound spectrum displayed. Try changing settings (e.g. frequency range, display colours) and see how the displays compare.
Try the same exercise using a noise-level meter app, such as SPL Meter or Noise Level.
- Listen to this very short lecture: ‘The Arts and Humanities’, by Professor Georgina Born
- Sound and the visual: check Cornelius Cardew’s graphic score Treatise (Buffalo, NY: Gallery Upstairs, 1967); select two or three pages and perform them, preferably with friends. Then compare Treatise, performed by the Cardew Trio with Treatise, An Animated Analysis and Cornelius Cardew's Treatise - Realization (2001) by Shawn Feeney. What does the comparison tell you?
- Read Nicholas Cook, Music: A Very Short Introduction (Oxford: Oxford University Press,1998; revised edition 2000); or two of the recommended articles in the Reading List below.
First seven weeks of study
These will include both group sessions, in which we will consider aspects of our research field and appropriate methods of research, and a programme of exercises (in italics below) which will conduct you through planning and developing your own dissertation. Studio 15 will collaborate with Studio 3 in some sessions. This programme is indicative; it will be varied to suit the group.
- Week 1: Introduction to the studio: our community and potentials; our programme of work.
Voices and instruments: comparing their qualities; comparing the practices of music makers; introduction to analytical methods and tools.
Preparation for proposing a dissertation topic.
- Week 2: Sound in our environment: local sound-walk (Wapping to Spitalfields) followed by reflection and analysis.
Library research and sources, including Zotero training with Library Staff. Propose an initial dissertation topic.
- Week 3: Music, invention, instruments and the visual: Leonardo da Vinci as musician and engineer; Leonardo’s Paragone.
Developing a dissertation plan: studio 15 milestones and requirements.
- Week 4: Experiments with instruments: Quantitative methods; capturing and analysing data.
Amplifying your dissertation plan.
- Week 5: Listening and hearing: Psychological aspects of sound and music.
Submission of your dissertation plan (topic, rationale, methods, sources, initial time-plan).
- Week 6: Presentation of your dissertation plan to the group.
- Week 7: Refining your dissertation plan.
Lectures and seminars will be tailored to the interests of the group.
In week 14 there will be a dissertation conference in conjunction with Studio 3.
- Nicholas Cook, 'Music: A Very Short Introduction' (Oxford: Oxford University Press, 1998; revised edition 2000)
- Richard Leppert, 'Seeing Music' in 'The Routledge Companion to Music and Visual Culture', ed. by Tim Shephard and Anne Leonard (New York and London: Routledge, 2014), pp. 7-12
- Steven Feld, 'Acoustemology' in 'Keywords in sound', ed. by David Novak and Matt Sakakeeny (Durham [NC] and London: Duke University Press, 2015), pp. 12-21; and other chapters in the same book
- Jean-Claude Risset and David L. Wessel, ‘Exploration of Timbre by Analysis and Synthesis’, in 'The Psychology of Music', ed. by Diana Deutsch, 2nd Edn. (Academic Press, 1999), pp. 113-169
- Eric F. Clarke, 'Music, Space and Subjectivity' in 'Music, Sound and Space: Transformations of Public and Private Experience', ed. by Georgina Born (Cambridge: Cambridge University Press, 2013), pp. 90-110
- Alan Davison, 'Representing Music-Making' in 'The Routledge Companion to Music and Visual Culture', ed. by Tim Shephard and Anne Leonard (New York and London: Routledge, 2014), pp. 87-94
- Tim Shephard, 'Leonardo and the Paragone' in 'The Routledge Companion to Music and Visual Culture', ed. by Tim Shephard and Anne Leonard (New York and London: Routledge, 2014), pp. 229-237
- 'Printed Music: Music Printing as Art' in 'The Routledge Companion to Music and Visual Culture' (New York and London: Routledge, 2014), pp. 171-179
- Sander van Maas (ed.), 'Thresholds of Listening: Sound, Technics, Space' (Harrogate: Combined Academic Publishers, 2015)
Studio 1: Another India
Studio 1: Another India will examine, reflect upon and critique the historic use of "exotic" motifs in design.
Studio 3: Music is the Weapon: Performance, Culture and the Music Industry
Studio 3: Music is the Weapon: Performance, Culture and the Music Industry is an exploration of race, gender, class and more in music.
Studio 4: What Not to Wear?
Studio 4: What Not to Wear? will investigate the roles that dress and fashion play in our workplaces.
Studio 5: Imperfect Theories
Studio 5: Imperfect Theories allows you to critically examine any work that can be seen as theory or presents an interesting relationship with theory.
Studio 6: Curating Contemporary Art: From the Wunderkammer to Installation art
Nico de Oliveira
Studio 6: Curating Contemporary Art examines the impact of curatorial practice on art.
Studio 7: Fashioning culture: clothing and the shaping of identity
Dr Lesley Stevenson
Studio 7: Fashioning culture will examine critically the links between fashion, clothing and identity.
Studio 8: Pleasure, Excess and Dirt
Studio 8 explores ideas of category, definition, identification and belonging through the examination of a series of objects and behaviours that appear to be in the wrong place instead of the right place.
Studio 9: The Continuing Lives of Objects
Studio 9: The Continuing Lives of Objects uses debates about change and preservation explore ideas within architecture.
Studio 10: Critical Theory and Critical Design. Artefacts, Images, Sites, Processes in Graphics and Illustration
Dipti Bhagat with Christopher Emmett
Studio 10 requires deep commitment and completion of critical theory and design for graphic design and illustration.
Studio 12: London Walking
Studio 12: London Walking looks at walking as a mode of creatively appropriating the city, with particular attention to our own city, London.
Studio 14: All in the best possible Taste
Dr John Cross
Studio 14: 'All in the best possible Taste' examines the historical influencers of taste, style and fashion.
Studio 15: Music, Technology and Ideas
Studio 15: Music, Technology and Ideas encourages you to explore how and why we make music, including its origin, relationship to technology and more.
Studio 16: Narrative and Storytelling
Studio 16: Narrative and Storytelling will see you produce storygraphs, storyboards and various forms of narrative analysis in the seminars.
Studio 17: Knowing Audiences
Studio 17: Knowing Audiences will encourage you to study an audience group using qualitative research methods in your investigations.
Studio 19: Material in Motion
Studio 19: Material in Motion will explore why an audience will put time, money and thought into acquiring an object.
Studio 20: Image ethics: Form, meaning and context
Dr Nick Haeffner
Studio 20: Image ethics: Form, meaning and context explores the aesthetics of the image and its role within fantasy, desire and social memory.
Studio 21: The Nonsensical Realm III
Studio 21: The Nonsensical Realm is a cross-disciplinary studio. This year it will engage with the idea of metaphor in art, architecture, design and music.
Studio 22: Meaningful work
Studio 22: Meaningful work explores the value of making and the idea of craft as meaningful work.
Studio 23: A Common Thread
Studio 23: A Common Thread examines the relationship between textiles and everyday life, including its design, trade, sustainability and more.