Module overview
Interactive music and sound can be found in diverse forms, from video games and interactive installations through to data driven sonic art and works with audience/performer interventions. Such situations provide composers and sound artists with both exciting creative opportunities and technical challenges. This module provides you with an opportunity to explore non-linear sonic scenarios, introducing a range of software systems and hardware controllers with which to engage.
Aims and Objectives
Learning Outcomes
Subject Specific Intellectual and Research Skills
Having successfully completed this module you will be able to:
- Evaluate and select appropriate software and/or hardware for a given interactive music or sound experience.
- Develop technical solutions to specific compositional problems in the design and realisation of an interactive music or sound experience.
- Critically evaluate interactive music or sound experiences.
Subject Specific Practical Skills
Having successfully completed this module you will be able to:
- Combine software and hardware tools to achieve a specific creative and technical goal.
- Compose within a sophisticated software environment.
Knowledge and Understanding
Having successfully completed this module, you will be able to demonstrate knowledge and understanding of:
- Tools and techniques for the creation of non-linear music and sound experiences.
- A range of exemplars of non-linear music and sound experiences across different media and art forms.
- Challenges, issues and strategies in non-linear music and sound scenarios
Transferable and Generic Skills
Having successfully completed this module you will be able to:
- Reflect critically on your own work
- Develop creative solutions in complex technological situations.
Syllabus
Topics studied will typically include:
- A variety of non-linear sound/music case studies such as video games and sound installations.
- Terminology and concepts relevant to non-linear sound tools, including spatialisation.
- Technical skills in the deployment of a range of relevant software packages and hardware tools such as game engines and controllers.
- Compositional strategies in non-linear audio scenarios including video games.
Learning and Teaching
Teaching and learning methods
Teaching and learning methods include:
Lectures and demonstration/workshops.
Practical tasks (both in-class and in independent study),
Studying feedback on assessed work,
Small group tutorials.
| Type | Hours |
|---|---|
| Independent Study | 126 |
| Practical classes and workshops | 24 |
| Total study time | 150 |
Resources & Reading list
Internet Resources
Textbooks
Duncan Williams, Newton Lee (eds) (2018). Emotion in Video Game Soundtracking. Springer International Publishing AG.
Karen Collins (2008). Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design. MIT Press.
Winifred Phillips (2017). A Composer's Guide to Game Music. MIT Press.
Assessment
Assessment strategy
- Formative tasks designed to provide informal, on-module feedback.
- Non-linear composition assignments to allow students to demonstrate the practical and technical skills covered.
Summative
This is how we’ll formally assess what you have learned in this module.
| Method | Percentage contribution |
|---|---|
| Group project | 20% |
| Composition | 60% |
| Group project | 20% |
Referral
This is how we’ll assess you if you don’t meet the criteria to pass this module.
| Method | Percentage contribution |
|---|---|
| Composition | 100% |
Repeat
An internal repeat is where you take all of your modules again, including any you passed. An external repeat is where you only re-take the modules you failed.
| Method | Percentage contribution |
|---|---|
| Composition | 100% |
Repeat Information
Repeat type: Internal & External