Foothill CollegeApproved Course Outlines

Fine Arts and Communication Division
MUS 11DHISTORY OF ELECTRONIC MUSIC: 1867-1970Summer 2014
4 hours lecture, 1 hour laboratory4 Units

Total Quarter Learning Hours: 60 (Total of All Lecture, Lecture/Lab, and Lab hours X 12)
 
 Lecture Hours: 4 Lab Hours: 1 Lecture/Lab:
 Note: If Lab hours are specified, see item 10. Lab Content below.

Repeatability -
Statement: Not Repeatable.

Status -
 Course Status: ActiveGrading: Letter Grade with P/NP option
 Degree Status: ApplicableCredit Status: Credit
 Degree or Certificate Requirement: AA Degree,   Certificate of Achievement
 GE Status: Non-GE

Articulation Office Information -
 Transferability: PendingValidation: 11/15/13

1. Description -
The impact of electronic musical instruments and electronic musical technology on the creation of music. Origins in the late 19th and early 20th century and the subsequent development of the first electronic instruments. Emergence of new musical styles including electroacoustic music, music concréte, and elektronische musik. The first use of computers in music. Performance with live electronics. The introduction of the synthesizer and the rise of mainstream electronic music. In addition, students will analyze historically significant works from the experimental art music of the mid-20th century through the popular forms of the 1960s.
Prerequisite: None
Co-requisite: None
Advisory: None

2. Course Objectives -
The student will be able to:
  1. Describe and discuss the history of electronic music from its origins in 1867 through 1970.
  2. Analyze electronic music instruments and how they affect musical content and aesthetics.
  3. Identify electronic music styles from the first electronic sound experiments through the multitude of global styles found in the second half of the Twentieth Century.
  4. Write comprehensive analyses of changes in electronic music technology and the resulting electronic music styles.
3. Special Facilities and/or Equipment -
  1. When taught on campus: classroom sound equipment for compact discs, audiotape and records, screen, overhead projector, slide projector, VCR and DVD.
  2. When taught via Foothill Global Access: on-going access to computer with Email software and capabilities; Email address; Java-script enabled internet browsing software.

4. Course Content (Body of knowledge) -
  1. Electronic Music Before 1945
    1. First Experiments in the Electronic Production of Sound
    2. The Italian Futurists and a New Aesthetic for Sound
    3. The Vacuum Tube and Advances in Electronic Music Technology
  2. Early Electronic Music in Europe
    1. Before the Tape Recorder
    2. Musique Concréte (France)
    3. Elektronische Musik (Germany)
    4. Italian Electronic Music
    5. British Electronic Music
  3. Early Electronic Music in America
    1. The New York School
    2. The Columbia-Princeton Electronic Music Center
    3. The Cooperative School for Electronic Music
  4. Early Electronic Music Around The Globe
    1. Latin America
    2. Asia
  5. Tape Music Composition
    1. Fundamental Sonic Traits
    2. Methods and Techniques for Sound Manipulation
  6. Early Synthesizers
    1. Synthesizer Predecessors
    2. Scott and Le Caine
  7. The Voltage Controlled Synthesizer
    1. The Moog Synthesizer
    2. The Buchla Synthesizer
    3. Other Commercial Synthesizers
  8. Early Computer Music
    1. Mainframe Computers
    2. Development of Musical Programming Languages
    3. Early Compositions
5. Repeatability - Moved to header area.
 
6. Methods of Evaluation -
  1. Quizzes on each of the topic areas.
  2. Essays in response to prompts that ask for critical exploration of a topic related to the parts of the course or concert reviews.
  3. Final Examination or Comprehensive Project: in-depth analysis of an electronic musician including biography focusing on influences, analysis of music example for structural characteristics, personal impact, interpretation of lyrics, etc.
7. Representative Text(s) -
Holmes, Thom. Electronic and Experimental Music: Technology, Music, and Culture. Oxford: Routledge, 2012.
Ross, Alex. The Rest is Noise: Listening to the 20th Century. New York: Farrar, Straus and Giroux, 2007.

8. Disciplines -
Music
Commercial Music
 
9. Method of Instruction -
  1. Lecture presentations and classroom discussion of electronic music.
  2. In-class listening to historically significant works of electronic music followed by instructor-guided interpretation and analysis.
  3. Group presentations of major projects followed by in-class discussion and evaluation.
 
10. Lab Content -
  1. Laboratory activities are provided for students to practice and apply their theoretical knowledge regarding music structural characteristics (rhythm, melody, form, instrumentation, and harmony), genre, and style. The lab content includes:
    1. In-depth, guided listening to music examples.
    2. Additional opportunities are provided through critical analysis of live concerts, films and documentaries.
    3. Learning is assessed in module quizzes and essays.
 
11. Honors Description - No longer used. Integrated into main description section.
 
12. Types and/or Examples of Required Reading, Writing and Outside of Class Assignments -
  1. Reading Assignments: Reading of modules for each of the module topics plus online summary.
  2. Writing Assignments: Essays responding to a prompt.
13. Need/Justification -
This course is a restricted support course for the AA degree and Certificate of Achievement in Music Technology.


Course status: Active
Last updated: 2014-09-02 07:49:39


Foothill CollegeApproved Course Outlines