Independent Music Production
Introduction
My name is __________, student number _______ of ___________________ studying _________ module; __________ – Independent Music Production in which I will complete a three part coursework assignments of:
• CW1 – Project planning document due on 19th February, equal to 10% of overall module mark.
• CW2 – Project presentation due on 30th April, equal to 60% of overall module mark.
• CW3 – Accompanying 1000 words essay due on 7th May, equal to 30% of overall module mark.
In this module, we were given the brief to create an original music production, performance or composition portfolio which we will be working on independently. We are required to produce a musical project on a professional level, displaying originality, depth of insight and expression of our individual creative process. We do have the option to collaborate with other musicians, in which case it is essential that we take a leading role in the creation of the final result and can demonstrate this in our work and the accompanying brief. I have chosen to work completely independent and will attempting to stretch my creativity within electronic music production as a Music Technology student I feel that it is my responsibility to ensure that I achieve the highest level of production and creativity, completely utilising all the new age technologies that have been development within music production over the last decade as these advances are the very reason I decided to study the technology of music.
I have decided my production project will be to create an original improvised electronic composition using all traditional sonic references derived from multiple style of dance music. I have chosen this concept as it reflect the new age of popular music within youth culture globally as well as its strong affiliation with the promotion British culture, which has spawned influential genres such as mostly recently Dub-step.
Firstly, within this essay my aim is to contextualise
My name is __________, student number _______ of ___________________ studying _________ module; __________ – Independent Music Production in which I will complete a three part coursework assignments of:
• CW1 – Project planning document due on 19th February, equal to 10% of overall module mark.
• CW2 – Project presentation due on 30th April, equal to 60% of overall module mark.
• CW3 – Accompanying 1000 words essay due on 7th May, equal to 30% of overall module mark.
In this module, we were given the brief to create an original music production, performance or composition portfolio which we will be working on independently. We are required to produce a musical project on a professional level, displaying originality, depth of insight and expression of our individual creative process. We do have the option to collaborate with other musicians, in which case it is essential that we take a leading role in the creation of the final result and can demonstrate this in our work and the accompanying brief. I have chosen to work completely independent and will attempting to stretch my creativity within electronic music production as a Music Technology student I feel that it is my responsibility to ensure that I achieve the highest level of production and creativity, completely utilising all the new age technologies that have been development within music production over the last decade as these advances are the very reason I decided to study the technology of music.
I have decided my production project will be to create an original improvised electronic composition using all traditional sonic references derived from multiple style of dance music. I have chosen this concept as it reflect the new age of popular music within youth culture globally as well as its strong affiliation with the promotion British culture, which has spawned influential genres such as mostly recently Dub-step.
Firstly, within this essay my aim is to contextualise
Bibliography: Harrison, Ann. 2008. Music: The Business: the essential guide to the law and the deals. London: Virgin. Katz, B. (2003) Mastering audio : the art and the science, Focal Press. Massey, H (2000). Behind the Glass : Top Record Producers Tell How They Craft the Hits. London: Backbeat UK. Runstein, R. and Huber, D. (2005, 6th ed.) Modern recording techniques, Focal Press. White, P. (2002) Recording and production techniques, London: Sanctuary. White, P. (2000) Basic Live Sound. London: Sanctuary. Wishart, T. (1996) On Sonic Art, London: Routledge. Wishart, T. (1994) Audible Design : a plain and easy introduction to sound composition, Broadfield publishing.