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Western Art Music Production Techniques & Aesthetics - MUS00196I

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  • Department: Music
  • Module co-ordinator: Mr. Paul Baily
  • Credit value: 20 credits
  • Credit level: I
  • Academic year of delivery: 2024-25
    • See module specification for other years: 2023-24

Module summary

This module develops technical and stylistic listening skills and practical recording skills. It will allow you to develop an understanding of the history and practice of sound recording for western art music (WAM). In doing so, it will provide experience in individual recording work. You will build a portfolio of productions that demonstrates an understanding of recording aesthetics for WAM and ability in the relevant recording techniques. In a counterpart to Pop Rock and Electronic Production Techniques & Aesthetics, this module will develop technical and critical listening skills appropriate to WAM productions. Sessions will take the form of guided in-depth listening, and practical demonstrations and masterclasses focused on the nuance and subtleties of WAM recording, editing and production.

Module will run

Occurrence Teaching period
A Semester 2 2024-25

Module aims

  • To develop an understanding of the history and practice of sound recording for western art music (WAM).

  • To provide experience in individual recording work. You will build a portfolio of productions that demonstrates an understanding of recording aesthetics for WAM and ability in the relevant recording techniques.

  • To develop technical and critical listening skills appropriate to WAM productions.

  • To develop presentation skills and to provide you with experience of making formal/prepared and informal/spontaneous contributions.

Module learning outcomes

  • Understand the major developments in sound recording technology, techniques and aesthetics and their effects on WAM over the last 150 years (particularly since the advent of consumer stereo).

  • Be able to solely devise and undertake production and post-production of acoustic WAM and reflect on the outcomes.

  • Be able to make meaningful and useful observations on technical and aesthetic aspects of acoustic recordings.

  • Be able to make informed and relevant contributions to discussion and peer listening seminars.

Assessment

Task Length % of module mark
Essay/coursework
Portfolio of recordings		 N/A 90
Oral presentation/seminar/exam
Presentation		 N/A 10

Special assessment rules

None

Additional assessment information

Summative 1: You will present a 10 minute overview of your progress towards your portfolio for the module. You should showcase your work thus far and identify strengths and weaknesses. The presentation also offers students the opportunity to provide and gain feedback on each other's work.

Summative 2: You should present a portfolio of at least three distinct recordings that should show versatility and would likely include recording solo and ensemble work, studio and live recording, and recording in different venues and acoustics. You should accompany your portfolio with a short commentary (1500 words max) that explains your recording and editing processes. You should submit:

  • Your finalised/mastered .wavs file(s) at CD standard OR a DDP image of your final mixes at CD standard, all with appropriate labelling.

  • A commentary (1500 words maximum) detailing and critiquing your processes when creating the recorded artefact.

  • Any additional documentation, routing diagrams, session notes etc. that supports your commentary.

Reassessment

Task Length % of module mark
Essay/coursework
Portfolio of recordings		 N/A 90
Oral presentation/seminar/exam
Presentation		 N/A 10

Module feedback

You will receive written feedback in line with standard University turnaround times.

Indicative reading

Rink, John, Daniel Leech-Wilkinson, Nicholas Cook, and Eric Clarke. (2009) The Cambridge Companion to Recorded Music. Cambridge: Cambridge University Press.

Cook, Nicholas. (2014) Beyond the Score: Music as Performance. New York: Oxford University Press.

Katz, Mark. (2004) Capturing Sound: How Technology has Changed Music. Berkeley: University of California Press.

Culshaw, John. (2012) Ring Resounding: The Recording of Der Ring des Nibelungen. London: Pimlico.

Zagorski-Thomas, Simon, Katia Isakoff, Serge Lacasse, and Sophie Stévance. (2012) The Art of Record Production: An Introductory Reader for a New Academic Field. London: Routledge.

Burgess, Richard James. (2014) The History of Music Production. New York: Oxford University Press,.

Haigh, C. et al. (2021). Classical recording : a practical guide in the Decca tradition. London : Routledge.


The information on this page is indicative of the module that is currently on offer. The University is constantly exploring ways to enhance and improve its degree programmes and therefore reserves the right to make variations to the content and method of delivery of modules, and to discontinue modules, if such action is reasonably considered to be necessary by the University. Where appropriate, the University will notify and consult with affected students in advance about any changes that are required in line with the University's policy on the Approval of Modifications to Existing Taught Programmes of Study.