Aesthetics & performance in electronic music

Course description Aesthetics & performance in electronic music
Year: 2018-2019
Catalog number: 5100KM51
Teacher(s):
  • Joel Ryan
Language: English
Blackboard: No
EC: 3
Level: 200
Period: Semester 1 & 2, Block I, II, III, IV
  • Yes Elective choice
  • No Contractonderwijs
  • Yes Exchange
  • Yes Study Abroad
  • No Evening course
  • No A la Carte
  • No Honours Class

Admission requirements

An interest in music.

Description

A Seminar on the inspiration for music made using electronic means.

Electronic music seems to be the first musical genre to have arisen without a performance practice. Is it possible to make music without a connection to performance? Is listening ultimately a solitary activity Though this situation is no longer the default, basic themes remain in dispute. Does new music demand new instruments? In the last century European music was for largely committed to its own history and to reconceiving symbolic compositional systems. But audiences and composers are now comfortable with a wealth of music coming from non-western sources, novel instruments and widely replicating hybrids such as Jazz and hiphop which are strongly rooted in performance, improvization and hands-on practice. On the other hand EDM seems to cleave closely to a purely descriptive model with possible roots in European tradition. What are the issues: the changes wrought by recording and digital media, the novelty of synthetic sounds or the relation of man to machines and artificial intelligence? We will look at the need for performance and for new instruments.

The paradigm of music creation has been under strain since the invention of recording, now it clearly fractured. Distinctions like author, score, interpretation, copy, do not produce clear lines in the mind. Copyright is a legalistic solution seldom to the benefit of creatives. Is an artist or composer responsible for negotiating these conditions or is music at the service of pre-established social norms of state and entrepreneurial sovereignty? Subsidy models put aesthetic decisions in the hands of bureaucrats. Are constructions of ownership in conflict with the need for of human communication or creative desire?

What should we seek in this new formal diversity to guide our invention of music? How has being digital revised our relation to traditional music? Is there a even a theory of electronic music? Does science and technology provide this? The history of culture reveals a myriad contexts and intentions for music from celebration to work, ritual, healing and social harmonization. Shall we seek out totally new relations or has the break with the past been greatly exaggerated?

Study requirements

Students from Leiden University hoping to acquire 5 ECTS will be expected to do a musical project or writing assignment.

Dates, time and location

Study year 2018-2019, 1st and 2nd semester.
Mondays from 16.00 - 18.00 hrs.
First class on Monday 10th September 2018
Final class on Monday 17th June 2019

PLEASE NOTE: no classes on:
Monday 22nd October 2018,
Monday 29th October 2018,
Monday 5th November 2018,
Monday 24th December 2018
Monday 31th December 2018
Monday 25th February 2019
Monday 4th March 2019
Monday 11th March 2019
Monday 22nd April 2019
Monday 10th June 2019

Location:
SON15 (Var├Ęsezaal), Royal Conservatoire, Juliana van Stolberglaan 1, Den Haag, phone 070 315 15 15.

Mode of instruction

Lecture and seminar

Registration

Register for this course via uSis.

Contact

Rogier Schneemann
Kees Tazelaar or info@sonology.org.

For other courses in the domains of music and fine arts, please visit:
Elective courses music and fine arts

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