Sequencing, Synthesis and Sampling - MUS00187C
Module summary
This module covers the basic creative skills and processes that operate in most contemporary production/audio environments. The module will cover the background to some of the three core technologies: sequencing, synthesis and sampling. The module encompasses MIDI (e.g. control and program changes, sysex, MPE), binary and hexidecimal representations of data, analogue subtractive and additive synthesis, a selection of digital synthesis techniques (e.g., wavetable, FM, modelling), sync methodologies (e.g. MIDI time code, MIDI machine code, CV) in addition to sampling, time stretching, looping, and standard sequencing skills.
Module will run
| Occurrence | Teaching period |
|---|---|
| A | Semester 2 2025-26 |
Module aims
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To introduce the key aspects of sequencing, synthesis and sampling processes that are required for a comprehensive and transferable understanding of contemporary music production.
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To provide practical experience of sequencing, synthesis and sampling techniques.
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To describe and explain the socio-musicological developments of these technologies in a historical context and with reference to popular and western art music.
Module learning outcomes
By the end of this module, you will be able to:
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Understand and explain the technical processes by which sequencing, synthesis and sampling processes occur.
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Demonstrate sequencing, synthesis and sampling techniques as part of a recording or sonic artefact
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Understand the historical social and technological contexts in which sequencing, synthesis and sampling were developed and their impact on music making and society.
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Identify and review contemporary uses of sequencing, synthesis and sampling technologies in popular and western art music.
Indicative assessment
| Task | % of module mark |
|---|---|
| Essay/coursework | 100 |
Special assessment rules
None
Additional assessment information
You will prepare a c. 5 minute musical artefact that demonstrates sequencing, synthesis and sampling technologies in action. The piece can be original or already extant (i.e. a cover), but must be generated primarily using synthesis and sampling technologies, and sequenced. ‘Live’ audio recordings can be included but will not be assessed. You should submit:
- Your sequencing session file.
- Your finalised/mastered .wav file(s) at CD standard with appropriate labelling.
- All accompanying audio and samples used in your sequence.
- A commentary (c.1500 words) detailing and critiquing your processes when creating the recorded artefact.
- Any analysis files or additional data required to run your sequence.
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
Huber, David Miles. (2020). The MIDI Manual: A Practical Guide to MIDI within Modern Music Production. Oxford: Routledge.
Martin, Russ. (2008). Sound Synthesis and Sampling. Oxford: Focal Press.
MIDI Manufacturers Association, The. (1996). The Complete MIDI 1.0 Detailed Specification 96.1. Los Angeles: MMA.
Roads, Curtis. (1996). The computer music tutorial. Cambridge, Mass. ; London: MIT Press.
Rumsey, Francis. (2021). Sound and Recording: Applications and Theory. Oxford: Routledge.
Shapiro, Peter. and Lee, Iara. (2000). Modulations : a history of electronic music: throbbing words on sound. New York: Caipirinha Productions.
Shelvock, M. T. (2020). Cloud-based music production : sampling, synthesis, and hip-hop. 1st ed. London : Routledge.
Stubbs, David. (2018). Mars by 1980: the story of electronic music. London : Faber & Faber.