Subject: Re: On Teaching in EaSt
From: Pierre Alexandre Tremblay (email@example.com)
Date: Mon Sep 12 2005 - 04:48:23 EDT
(message from Saturday but still of actuality I think.)
A last one, for this rainy West-Yorkshire morning at least, gotta get
in the studio, no?
> 3 or 4 years of 'studio / composition'
> 2 or 3 years of ea oriented aural skills training
> 1 year of history and repertoire
> 2 years of analysis / analytic listening
> 1 year of acoustics / psychoacoustics
> 2 years of "Applied Music Theory for EaSt"
> 2 years of Studio (sic) and mastering techniques
Please let me propose a revised version according to my vision of what
it should be. Always open to discussion, obviously...
On a 3 year program, plus a one foundation year if needed.
- basic acoustic
- basic computer usage / basic computer-based studio usage
- basic musical history overview
- concert review
Someone who has a good CEGEP in music would know that.
Then, the program, as open as possible
- 3 years of individual composition tutorship, 1h/w, whatever that is
(installation, art video, acousmatic, noise, mixed music, techno, etc)
then, group class of the following, 3h/w
- 1 year of studio techniques
- 1 year of psychoacoustic / instrument acoustic
- 1 year of perceptual analysis
- 1 year of contemporary music history
- 1 year of DSP
- 2 or 3 years of concert attendance review
- 2 or 3 years of instrument practice. No virtuosity needed here, just
The important think, is that studio tech, psycho acoustic, and DSP are
taught in parallel: for example, you learn how to use a chorus in
studio technique, then how it works in your brain in psychoacoustic and
how to code one in DSP. That is for the technical side, but is also
true for the aesthetic side: teaching the first year of concert review
in parallel with perceptual analysis and music history.
This program is quite light, so it leaves room for other interesting
stuff, depending of the student's interrest: more DSP, applied
electronic for interactive systems, plug in coding in C, musical
assistant residencies, for the more technically inclined student;
Aesthetic History, analysis seminars, instrumental writing techniques
for the more intellectual one; Art-video-electro integration, studio
and album projects, special group projects, festival curating, etc for
the more hand-on, hard-core creator.
I might be dreaming, but it looks roughly like what I did, and I am
quite happy with the result ;-) My proposal is biased with what I
consider important - basic technical skills, strong knowledge of the
past and present, but mostly hand-on experience as a creator: looking
and judging what is happening now on the scene, and deeply contributing
to it. Because after all, art history is a succession of more or less
successful individual proposals mad to the peers.
my 56$ / 40 € / £20.
-- Pierre Alexandre Tremblay Lecturer in Computer Composition University of Huddersfield Queensgate Campus Huddersfield England HD1 3DH
(t) +44 (0) 1484 473608 or 472007 (f) +44 (0) 1484 472656
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