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Unit of study_

CMPN3636: Live Electronic Music Performance

Semester 1, 2021 [Normal day] - Sydney

Live Electronic Music Performance is an innovative and diverse area of contemporary performance practice. Posing significant and exciting challenges for the rendering of music using digital technology, Live Electronic Music Performance requires genuine interdisciplinary skills such as technical development and problem solving, improvisation, musical composition, live sound reinforcement and ensemble communication. This area of performance employs a wide range of technologies, musical styles and performance methodologies. This unit aims to give students the skills necessary to navigate the various tools and techniques available in order to create innovative live performances using electronic and digital technologies.

Unit details and rules

Unit code CMPN3636
Academic unit Composition and Music Technology
Credit points 6
Prohibitions
? 
None
Prerequisites
? 
(CMPN1013 or MUSC2653) and (CMPN1631 or CMPN1632)
Corequisites
? 
None
Assumed knowledge
? 

Students enrolling in this Unit of Study are expected to have previous experience with music technology, including recording and music creation software. Students will be expected to perform.

Available to study abroad and exchange students

Yes

Teaching staff

Coordinator Benjamin Carey, benjamin.carey@sydney.edu.au
Lecturer(s) Benjamin Carey, benjamin.carey@sydney.edu.au
Type Description Weight Due Length
Assignment Research Paper
Essay
30% Week 06
Due date: 15 Apr 2021 at 23:59
1500 words
Outcomes assessed: LO1
Presentation group assignment Group Performance
Group Performance
30% Week 09
Due date: 06 May 2021 at 14:00
3-5 minute performance
Outcomes assessed: LO1 LO2 LO3 LO4
Creative assessment / demonstration Solo Performance Assessment and Reflective Diary
Solo Performance and Reflection
40% Week 13
Due date: 03 Jun 2021 at 17:00
5-10 min performance, 1000 word paper
Outcomes assessed: LO1 LO4 LO3 LO2
group assignment = group assignment ?

Assessment summary

Research Paper: Research a unique example of live electronic music performance, analysing the affordances and constraints of the live performance design. The example could be a specific performance, a technique developed by a single artist, or a broad category of performance practice discussed in class. The paper should be in the form of an essay and include critical analysis of the performance approach, as well as the historical and technological context of the chosen example.

Group Performance: Devise and present an original live performance using music technology for a small ensemble of musicians from the class (3-4 players). The performance should demonstrate multiple uses of music technology in performance, and a clear division of roles amongst the ensemble members.

Solo Performance and Reflective Diary: Design and produce an original live performance using digital and or/analog technologies. This performance should be your own original work, but may include a re-imagining of an existing musical work using music technology. In the latter case you must be able to demonstrate that the current version has been substantially altered and enhanced by your specific performance design. This assessment is to be supplemented by submission of cumulative, week-by-week reflective process diary, which documents your efforts to design and implement your live performance.

Assessment criteria

The following assessment criteria are used for written work in this unit of study:

  • Fail: (Below 50%) Work not of acceptable standard.   Work may fail for any or all of the following reasons: Unacceptable paraphrasing; irrelevance of content; poor spelling; poor presentation; grammar or structure so sloppy it cannot be understood; failure to demonstrate understanding of content; insufficient or overlong word length.
  • Pass: (50%-64%) Work of acceptable standard. Written work meets basic requirements in terms of reading/research; relevant material; tendency to descriptive summary rather than critical argument; makes a reasonable attempt to avoid paraphrasing; reasonably coherent structure; often has weaknesses in particular areas, especially in terms of narrow or underdeveloped treatment of question; acceptable documentation.
  • Credit: (65%-74%) Highly competent work demonstrating potential for higher study. Evidence of broader understanding than pass level; offers synthesis with some critical evaluation of material; coherent argument using a range of relevant evidence; some evidence of independent thought, good referencing. A high credit (70-74) shows some evidence of ability to problematise and think conceptually.
  • Distinction: (75%-84%) Work of superior standard. Demonstrates initiative in research and wide, appropriate reading; complex understanding of question and ability to critically review material in relation to underlying assumptions and values; analyses material in relation to empirical and theoretical contexts; properly documented; clear, well-developed structure and argument with some signs of literary style.  
  • High Distinction: (85%-100%) Work of exceptional standard.   Demonstrates high level of initiative in research and reading; sophisticated critical analysis of evidence; high level engagement with theoretical issues, innovative use of reading/research material and impressive command of underlying debates and assumptions; properly documented and written with style, originality and precision.

The following assessment criteria are used for performance in this unit of study:  

  • Fail: (Below 50%) Work not of acceptable standard.   Unsatisfactory technical achievement and/or unsatisfactory level of musical and artistic engagement. Limitations may be of such a scale and consistency as to call into question the student’s future direction in the programme.  
  • Pass: (50%-64%) Work of acceptable standard.   Satisfactory level of preparation and musical engagement. Some inconsistencies in musicianship, style and/or technique. Musical imagination and overall performance sense developing though some insecurity in this area.  
  • Credit: (65%-74%) Highly competent work demonstrating potential for higher study.   Confident technique with evidence of solid musicality and some stylistic achievement. Occasional lapses indicative of unresolved technical, artistic and/or stylistic issues. Projects potential for further development.  
  • Distinction: (75%-84%) Work of superior standard.   Excellent technical, musical and stylistic achievement. Consistently coherent and expressive performance. Some personal interpretation of the work suggesting soloist potential.  
  • High Distinction: (85%-100%) Work of exceptional standard.   Comprehensive and outstanding technical control and musical integrity in relation to developmental expectations. Musical individuality consistently projected to create a persuasive personal representation of the work. Performance flair indicative of soloist standard. A mark of 95 or above indicates extraordinary technical virtuosity and musical artistry. 

For more information see guide to grades.

Late submission

In accordance with University policy, these penalties apply when written work is submitted after 11:59pm on the due date:

  • Deduction of 5% of the maximum mark for each calendar day after the due date.
  • After ten calendar days late, a mark of zero will be awarded.

Academic integrity

The Current Student website  provides information on academic integrity and the resources available to all students. The University expects students and staff to act ethically and honestly and will treat all allegations of academic integrity breaches seriously.  

We use similarity detection software to detect potential instances of plagiarism or other forms of academic integrity breach. If such matches indicate evidence of plagiarism or other forms of academic integrity breaches, your teacher is required to report your work for further investigation.

You may only use artificial intelligence and writing assistance tools in assessment tasks if you are permitted to by your unit coordinator, and if you do use them, you must also acknowledge this in your work, either in a footnote or an acknowledgement section.

Studiosity is permitted for postgraduate units unless otherwise indicated by the unit coordinator. The use of this service must be acknowledged in your submission.

Simple extensions

If you encounter a problem submitting your work on time, you may be able to apply for an extension of five calendar days through a simple extension.  The application process will be different depending on the type of assessment and extensions cannot be granted for some assessment types like exams.

Special consideration

If exceptional circumstances mean you can’t complete an assessment, you need consideration for a longer period of time, or if you have essential commitments which impact your performance in an assessment, you may be eligible for special consideration or special arrangements.

Special consideration applications will not be affected by a simple extension application.

Using AI responsibly

Co-created with students, AI in Education includes lots of helpful examples of how students use generative AI tools to support their learning. It explains how generative AI works, the different tools available and how to use them responsibly and productively.

WK Topic Learning activity Learning outcomes
Week 01 Historical overview of live electronic music performance practices in the 20th/21st centuries. In-class listening, project research and group performance project ideation session Lecture and tutorial (3 hr)  
Week 02 Laptop Performance/Controllerism: Case Studies in the use of the laptop as a performance instrument. Mapping as a creative strategy in commercial software and hardware systems (Ableton Live, Logic/Mainstage, Kontakt, MaxMSP, Maschine) Lecture and tutorial (3 hr)  
Week 03 Mixed musical performance - incorporating acoustic instrumental and live/pre- recorded electronics. Instrumental amplification, use and abuse of live effects processing, and live looping strategies. Lecture and tutorial (3 hr)  
Week 04 Improvisation in electronic music performance. Group Improvisation workshop – strategies for spontaneous performance using music technology. Lecture and tutorial (3 hr)  
Week 05 Step Sequencing: techniques in the use of software and hardware step sequencers in live performance. Exploring step sequencing as a performance practice using software and hardware controllers. Lecture and tutorial (3 hr)  
Week 06 Analog and ‘lo-fi’ electronics in performance. Practical explorations of amplified objects, contact microphones, circuit bending, creative use of feedback and no-input mixing. Lecture and tutorial (3 hr)  
Week 07 Modularity in live performance – modular system design for live performance with hardware and software synthesisers. Practical approaches to integrating modularity into the design of hardware and software performance systems Lecture and tutorial (3 hr)  
Week 08 Group Performance Lab 1. Workshop group performance projects with guidance from tutor. Lecture and tutorial (3 hr)  
Week 09 Group Performance Lab 2. Rehearse and present group performance projects to the class. Lecture and tutorial (3 hr)  
Week 11 Solo Performance Lab 1. Workshop system design and performance strategies for final performance, with guidance from tutor. Report on progress to the class. Lecture and tutorial (3 hr)  
Week 12 Solo Performance Lab 2. Workshop system design and performance strategies for final performance, with guidance from tutor. Report on progress to the class. Lecture and tutorial (3 hr)  
Week 13 Final Prep - Public Performance of Solo Works Lecture and tutorial (3 hr)  

Study commitment

Typically, there is a minimum expectation of 1.5-2 hours of student effort per week per credit point for units of study offered over a full semester. For a 6 credit point unit, this equates to roughly 120-150 hours of student effort in total.

Learning outcomes are what students know, understand and are able to do on completion of a unit of study. They are aligned with the University's graduate qualities and are assessed as part of the curriculum.

At the completion of this unit, you should be able to:

  • LO1. Display critical skills in assessing the effectiveness of live performance methodologies
  • LO2. Display skills in the use and management of music technology that extends studio-based production paradigms
  • LO3. Design and manage sophisticated technological solutions for performances using live electronics
  • LO4. Present original and engaging musical performance (both solo and in groups), using a variety of electronic and digital music technologies

Graduate qualities

The graduate qualities are the qualities and skills that all University of Sydney graduates must demonstrate on successful completion of an award course. As a future Sydney graduate, the set of qualities have been designed to equip you for the contemporary world.

GQ1 Depth of disciplinary expertise

Deep disciplinary expertise is the ability to integrate and rigorously apply knowledge, understanding and skills of a recognised discipline defined by scholarly activity, as well as familiarity with evolving practice of the discipline.

GQ2 Critical thinking and problem solving

Critical thinking and problem solving are the questioning of ideas, evidence and assumptions in order to propose and evaluate hypotheses or alternative arguments before formulating a conclusion or a solution to an identified problem.

GQ3 Oral and written communication

Effective communication, in both oral and written form, is the clear exchange of meaning in a manner that is appropriate to audience and context.

GQ4 Information and digital literacy

Information and digital literacy is the ability to locate, interpret, evaluate, manage, adapt, integrate, create and convey information using appropriate resources, tools and strategies.

GQ5 Inventiveness

Generating novel ideas and solutions.

GQ6 Cultural competence

Cultural Competence is the ability to actively, ethically, respectfully, and successfully engage across and between cultures. In the Australian context, this includes and celebrates Aboriginal and Torres Strait Islander cultures, knowledge systems, and a mature understanding of contemporary issues.

GQ7 Interdisciplinary effectiveness

Interdisciplinary effectiveness is the integration and synthesis of multiple viewpoints and practices, working effectively across disciplinary boundaries.

GQ8 Integrated professional, ethical, and personal identity

An integrated professional, ethical and personal identity is understanding the interaction between one’s personal and professional selves in an ethical context.

GQ9 Influence

Engaging others in a process, idea or vision.

Outcome map

Learning outcomes Graduate qualities
GQ1 GQ2 GQ3 GQ4 GQ5 GQ6 GQ7 GQ8 GQ9

This section outlines changes made to this unit following staff and student reviews.

This is the first time this unit has been offered.

Disclaimer

The University reserves the right to amend units of study or no longer offer certain units, including where there are low enrolment numbers.

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