This course will examine multimedia and interdisciplinary art forms and communications technologies for music that have arisen from the digital revolution. Case studies will include music composition for computer games, digital audiovisual curation techniques, and wearable technologies for music-making, data sonification and massively-collaborative online music-making. Learning and teaching activities will include lectures and tutorials, as well as more experimental study sessions involving programming.

By the end of the course, you should be able to:

1. demonstrate several theoretical perspectives from which to analyse music’s place in a digital world
2. apply these theoretical perspectives to a number of specific musical cases
3. demonstrate listening skills developed through the study and discussion of selected works
4. demonstrate research, analysis, discussion, and writing skills through written assessment and applied practical tasks

1. Written project (3000–4000 words) (60%), [Learning Outcomes 1,2,3,4]
2. Case studies workbook (40%), [Learning Outcomes 1,2,3,4]

130 hours of total student learning time made up from:

a) 36 hours of contact:

i) 26 hours of lectures (one per week or intensive)

ii) 10 hours of tutorial/feedback

b) 94 hours of independent student research, reading and writing

Nil

None

A reading brick will be available to all students enrolled in this course at the start of the teaching semester. Indicative texts include:

• Miller, P 2008 Sound Unbound. Cambridge MA, MIT Press.
• Kusek, D & G Leonhard 2005 The Future of Music. Boston, Berklee.
• Cascone, K 2000 ‘The Aesthetics of Failure’ Computer Music Journal 24.4: 12-18.
• Dixon, S 2007 Digital Performance. Cambridge MA, MIT Press.
• Gopal, RD et al. 2009 “A Behavioural Model of Digital Music Piracy.” Journal of Organisational Computing and Electronic Commerce 14.2: 89-105
• Brown, A 2007 Computers in Music Education. NY, Routledge.