Master’s Degree in Composition with Technologies
| ECTS | 60 |
|---|---|
| Places available | 15 |
| Calendar | 2 October - 31 May. The Master's Thesis is presented in concert the 1st week of July. |
| Schedule | From Monday to friday, to 18h to 20h. |
| Mode | Attending |
| Teaching language | Catalan, Spanish, English |
| Fees / credit | 94,45 € |
The anachronic figure of the technical assistant who helped the composer to generate and to program the electronic part of his works has nowadays the same lack of sense than needing someone to help the composer to orchestrate because of one being untrained to do it by oneself. The composer is responsible for every sounding element (electronic or instrumental) that configures a work, and that’s why new generations of composers who wish to use these means know that to them it is as necessary to learn harmony, counterpoint or orchestration, as to master concepts, techniques and computer programs for the generation and processing of sound, its sequencing and spatialization, etc. New compositional techniques necessary to compose with current technology, nowadays already indispensables in the training of new batches of composers and performers wishing to work present repertoire with these means.
This Master’s program was designed and offered for the first time in the school year 2007–2008 as part of the ECMCT (European Course for Musical Composition and Technologies), the Leonardo da Vinci European project. This project aims to define contents and methodologies at a high level for a post-graduate course based on the latest technologies. This project was developed in collaboration with prestigious European institutions specializing in this field: IRCAM (Paris), Technische Universität (Berlin), Universität der Künste (Berlin), Musikhochschule Hanns Eisler (Karlsruhe and Weimar), Sibelius Academy (Helsinki), Muzyka Centrum Art Society (Krakow), Estonian Academy of Music and Theatre (Tallinn).
The current Master’s Degree in Musical Composition with Technologies draws on the experience and covers many different technical aspects and specialized programs, as well as concepts and techniques inherent in the creation and structuring of a well elaborated musical discourse. This discourse includes both the aspects of the instrumental writing and the technology. The knowledge acquired in this program converges in the elaboration of a mixed work for instrument and electronics in a free format that could be with instrument and tape or a work which interfaces and/or interacts in real time.
To access the master’s degree, you must have a higher degree in music or equivalent accredited experience. The candidate must send their own music scores and / or recordings. The material sent will be evaluated by the management of the master’s degree.
| Subjects | Credits |
|---|---|
| Fundamentals of Acoustics, Synthesis and Sound Editing | 3 |
| Fundamentals of musical composition, form and structure | 3 |
| Extended instrumentation techniques | 3 |
| Fundamentals of programming | 3 |
| Studio and post-production techniques | 3 |
| Electroacoustic composition | 6 |
| Computer aided composition | 3 |
| Analysis and conceptual aspects of music with technologies | 3 |
| Programming and use of interactive systems | 6 |
| Writing and compositional and interpretive strategies for electronic and instrumental music | 6 |
| Computer image generation and lighting and lighting | 3 |
| Live Coding | 3 |
| Final project | 15 |
The main objective of the course is to offer specialized training for composers or music professionals who wish to incorporate the latest technology into their productions.
The course will provide the necessary tools for students to:
Graduates in music, composers, performers, music teachers, designers and sound technicians with experience in the field of composition or sound creation, and professionals interested in incorporating computer media into their creative, interpretive, productive or teachers.
Coordination: Eduard Resina
Ariadna Alsina
Alex Barrachina
Joan Bagés
Lina Bautista
José Manuel Berenguer
Sixto Cámara
Pedro González
Christophe Havel
Enric Guaus
Fèlix Pastor
Luis Nacenta
Eduard Resina
Josep Rio-Pareja
Oriol Saladrigues
Class hours are always from 6 to 8 p.m.
| 1r quarter (Oct- Des) |
|
| Day | Subject |
| Mon. | Fundamentals of programming |
| Tues. | Basic study and post-production techniques |
| Wed. | Fundamentals of acoustics, sound synthesis and editing |
| Thurs | Extended instrumentation techniques |
| Fri. | Fundamentals of musical composition, form and structure |
| 2nd quarters (Jan-Mar) | |
| Mon. | Computer assisted composition / Writing and compositional and interpretive strategies of electronic and instrumental music |
| Tues. | Computer assisted composition / Writing and compositional and interpretive strategies of electronic and instrumental music |
| Wed. | Programming and use of interactive systems |
| Thurs | Electroacoustic composition |
| Fri. | Generation and manipulation of images and lighting by computerComputer image generation and lighting and lighting |
| 3rd quarters (Mar-May) | |
| Mon. | Writing and compositional and interpretative strategies of electronic and instrumental music |
| Tues. | Live Coding |
| Wed. | Analysis and conceptual aspects of music with technologies |
| Thurs | Electroacoustic composition |
| Fri. | Programming and use of interactive systems |
| sine die | Individual tutorials |
| June/July sine die | Preparation and performance of a premiere concert |