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1. Students will be able to identify, describe and explain music technology fundamentals associated with audio and MIDI.
2. Students will be able employ and apply musical technologies in a manner that displays technical and creative understanding and fluency.
3. Students will be able to demonstrate independent, imaginative and creative approaches to problem solving using musical technologies.
4. Students will develop research skills and a critical understanding of music technology and its associated areas.

• Brown, Andrew R. Computers in Music Education : Amplifying Musicality. New York: Routledge, 2007.
• Cary, Tristram. Illustrated Compendium of Musical Technology. London: Faber, 1992.
• Guérin, Robert. MIDI Power! 2nd ed. Boston, MA: Thomson Course Technology.
• Gurevitz, Steven, and Paul Middleton. Music Technology Key Concepts and Practical Projects. Workbook ed. San Diego: Focal Press [Imprint] Elsevier Science & Technology Books.
• Holmes, Thom. The Routledge Guide to Music Technology. Routledge Guides. New York: Routledge, 2006.
• Hosken, Daniel W. An Introduction to Music Technology. 1st ed. New York: Routledge, 2011.
• Huber, David Miles. The Midi Manual a Practical Guide to Midi in the Project Studio. 3rd ed. Burlington, MA: Focal Press/Elsevier.
• Kirk, Ross, and Andy Hunt. Digital Sound Processing for Music and Multimedia. Oxford: Focal, 1999.
• Manning, Peter. Electronic and Computer Music. Rev. and expanded ed. Oxford ; New York: Oxford University Press.
• Middleton, Chris, and Allen Zuk. The Complete Guide to Digital Audio : A Comprehensive Introduction to Digital Sound and Music-Making. Lewes, [England]: Ilex, 2004.
• Mike, Collins. Pro Tools 9: Music Production, Recording, Editing, and Mixing Music Production, Recording, Editing, and Mixing. NL: Focal Press, 2011.
• Miranda, Eduardo Reck. Computer Sound Design : Synthesis Techniques and Programming. Music Technology Series. 2nd ed. Oxford ; Boston, Mass.: Focal Press, 2002.
• Pohlmann, Ken C. Principles of Digital Audio. 5th ed. New York ; London: McGraw-Hill, 2005.
• Roads, Curtis. The Computer Music Tutorial. Cambridge, Mass.: MIT Press, 1996.
• Russ, Martin. Sound Synthesis and Sampling. Music Technology Series. 2nd ed. Boston: Elsevier/Focal Press, 2004.
• Ward, Kevin. Pro Tools 9: The Mixer's Toolkit: The Mixer's Toolkit. NL: Focal Press, 2011.
• Williams, David Brian, and Peter Richard Webster. Experiencing Music Technology : Software, Data, and Hardware. New York London: Schirmer Books; Prentice Hall International, 1996.
• Wishart, Trevor, and Simon Emmerson. On Sonic Art. Contemporary Music Studies ; V. 12. New and rev. / ed. New York, N.Y.; Amsterdam: Routledge ; Harwood Academic Publishers, 1996.

• Kirn, Peter. "Create Digital Music".  2012. 16 January 2012. <http://createdigitalmusic.com/>.
• "Harmony Central".  1995. 17 January 2012. <http://www.harmonycentral.com/>.
• "MIDI Manufacturer's Association".  2003. <http://midi.org/>.
• "Sound on Sound Magazine".  1985. 17 January 2012. <http://www.soundonsound.com/>.

MyUni is a crucial part of this course and will provide students with access to assessment and learning materials, such as quizzes, discussion boards, slide presentations, readings, links, sound and video. Materials will be provided on a topic-by-topic basis over the semester: .

The course structure and content is delivered through a range of classes and materials. The classes in this course consist of lectures, tutorials and workshops.

Lecture

• Lectures will deliver a specific topic each week. The topic will consist of ideas and concepts; technologies; and creative practitioners in the field.

Tutorial

• Tutorials provide an opportunity to discuss and ask questions about the weekly lecture and topic for the course; reinforce concepts and ideas from the lecture and explore new territory.
• Students are required to complete the weekly reading before their tutorial; come to the tutorial with questions and thoughts on the reading; and be prepared to actively engage in discussion on the weekly topic and reading.

Workshop

• Workshops will explore a wide range of practical aspects of the course and its associated topics and concepts.
• Students will be set regular practical tasks as part of their portfolio assessment and be required to present their work during the workshop.
• Although workshops will from time to time contain presentations from the instructor, the workshop will largely be an opportunity for students to obtain assistance with their practical and creative development and practice. Students need to actively and on a week-by-week basis maintain their practical and creative development, using the workshop to raise issues and solve problems.
• Finally, the workshops provide a forum by which students can begin to explore their own ideas and practice using lecture and tutorial materials as inspiration and points of departure.

This course consists of up to 48 hours of direct contact or structured non-contact - 4 hours per week over 12 weeks for the lectures, tutorials and workshops, where students will play an active role in the practice, refinement, consolidation and extension of their knowledge and understanding. In addition students will spend a minimum of 108 non-contact hours over the duration of the course on self-initiated learning and research, reading, writing, practice and assessment in order to pass the course, making the minimum workload 156 hours.

The structure of the course is broken down into topics. Each topics consists of a number of weeks dedicated to the section topic and more specific sub-topics that vary according to changes in the field. Each of the topic is supported by theory and practice through lectures, tutorials and workshops. More information about the format of the classes can be found in the section  “LEARNING AND TEACHING MODES”. The list of topics includes:

• Sound Theory
• Analogue and Digital Audio
• Time and Frequency Representations of Sound
• Synthesis and Sampling
• Effects and Processing
• MIDI Hardware, Language and Format
• MIDI Systems and Connectivity
• Open Sound Control
• Audio Recording and Editing
• Audio Sequencing, Processing and Production
• MIDI Editing and Sequencing
• MIDI Processing and Production

EMU Facilities Access Provisions

This course will involve using the resources of the Electronic Music Unit (EMU). This includes facilities such as studios, recording spaces and digital audio workstations. For more information about these facilities and how to make bookings go to the EMU website:

In order for students to complete the course they must gain ongoing and permanent access to EMU. Access and use of EMU is based upon the following:

1. Users must complete and pass the EMU Guide Assessment (EGA).  In order to pass the EGA users must receive a 90% or above grade. Users will have a maximum of 3 attempts at passing the EGA before being prohibited from taking the EGA further. If a user fails to pass the EGA after 3 attempts, or doesn’t pass by the end of week 4 of the course (which ever comes first), they will not be permitted to continue the course, or any other courses requiring access to EMU, and won’t be provided access or permission to use any of the EMU facilities.
2. Users agree to and sign the EMU User Agreement (EUA). Users found in breach of the EUA will automatically have access penalties imposed:

• First breach: students will have all booking privileges removed and have after-hours access suspended for a period of 4-weeks.
• Second breach: students will have all booking privileges removed and have after-hours access suspended for until start of the next academic semester.
• Third breach: students will have all booking privileges removed and all access suspended until the start of the next academic year

Information is available on the EMU website:

Other Expectations

Except where otherwise indicated by the lecturer, tutor or workshop instructor – mobile phones, laptops, PDAs, recording devices and other similar technology must be switched off before lessons or classes begin, and kept off for the duration.

Formative Assessment: Classes will contain embedded formative assessment tasks that may include student presentations, discussions, practical exercises, demonstrations and out-of-class work that will enable students to engage with the practical and theoretical concepts presented in order to complete their summative assessments.

Hurdle Assessment

All students must complete the requirements under “SPECIFIC COURSE REQUIREMENTS ‘EMU Facilities Access Provisions’”. Students who fail complete these items have failed the course.

Assessments

All students must complete and submit all assessments. If a student fails to complete and submit all assessments by the due date and fails to produce the appropriate medical or compassionate certificates, the student may be deemed to have failed that course, irrespective of assignments previously completed. Further, the student will be deemed ineligible for supplementary assessments. Students should consult their respective lecturer, tutor or demonstrator for further information.

Attendance Expectation & Penalty

Students are expected to attend all classes. If a student fails to attend at least 75% of tutorials or workshops in a course and fails to produce the appropriate medical or compassionate certificates, the student is deemed to have failed that course, irrespective of assignments previously completed. Students who arrive 20 minutes or later after the start of a class will be marked as absent.

Leave

Extenuating circumstances may occasionally affect a student’s ability to participate in a rehearsal, workshop, class, lecture, tutorial or performance.  In such cases leave may, upon application using the leave form (available from the Music Office Hartley Building G05), be approved by the relevant staff member (this could be the Head of Studies, teacher, conductor, lecturer or course coordinator as appropriate). Types of leave include: sick leave; compassionate leave; and professional development leave.

Refer to “ASSESSMENT SUMMARY”

Assessments and Exams

Students must be available during the identified University teaching, academic and examination periods. Students are not entitled to sit an examination or submit an assessment at another time, nor are they entitled to any other concessions if an examination or assessment conflicts with a planned vacation or special event. Results from assessments and examinations are usually sent to students via email and/or myUni.

Late Submission

Assignments where late submissions are permitted and that are submitted after the due date and time will incur a 5% penalty (from the assignment total of 100%) per day (24 hour period) for a maximum of 4 days (weekend days included). After this time the assignment will not be marked for assessment or feedback. Note – typically this does not apply to assessments where the assessment is conducted at a fixed time and location, such as an exam, workshop, practical test, performance or presentation – please refer to the individual assessments for further information.