OCR LEVEL 3 CAMBRIDGE TECHNICALCERTIFICATE/DIPLOMA IN

PERFORMING ARTS

MUSIC TECHNOLOGY IN PERFORMANCE K/600/6968

LEVEL 3 UNIT 67

GUIDED LEARNING HOURS: 60

UNIT CREDIT VALUE: 10

TECHNICALSCambridge

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MUSIC TECHNOLOGY IN PERFORMANCEK/600/6968

LEVEL 3 UNIT 67

AIM OF UNIT This unit aims to provide the student with the theoretical and practical working knowledge required when applying technology to the live performance of music utilising a variety of instruments and equipment. Learners will develop an understanding of how electronic music has evolved from both the musical and technological perspectives and will become competent in the application of technology to the live performance of music in combination with other art forms.

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Music Technology in Performance Level 3 Unit 67

ASSESSMENT AND GRADING CRITERIA

Learning Outcome (LO)

The learner will:

Pass

The assessment criteria are the pass requirements for this unit.

The learner can:

Merit

To achieve a merit the evidence must show that, in addition to the pass criteria, the learner is able to:

Distinction

To achieve a distinction the evidence must show that, in addition to the pass and merit criteria, the learner is able to:

1 Know how music technology can be used in performance

P1 describe how music technology can be used in performance

2 Know the historical context of electronic music performance

P2 describe a chosen focus within electronic music performance placing it in context with historical developments

3 Be able to use music technology in performance

P3 use music technology in the live performance of music with minor errors that do not detract from the overall effect

M1 demonstrate elements of improvisation in conjunction with pre-conceived programming as part of a live music technology ensemble

D1 combine technology with creativity, design an original music technology schematic for a dissimilar art form

4 Be able to perform with related art forms using music technology

P4 produce a performance using music technology working with a chosen art form with assistance

M2 perform the music technology input for a single art form performance concept

D2 combine technology with creativity; direct the live music technology input to a dissimilar art form performance concept

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TEACHING CONTENTThe unit content describes what has to be taught to ensure that learners are able to access the highest grade.

Anything which follows an i.e. details what must be taught as part of that area of content.

Anything which follows an e.g. is illustrative. It should be noted that where e.g. is used, learners must know and be able to apply relevant examples to their work although these do not need to be the same ones specified in the unit content.

Know how music technology can be used in performance

Learners should have ample opportunity to explore the nature of, and experiment with, the application of a wide range of technological approaches to live performance including some element of improvisation. This implies they will be shown how technology can be used across musical forms including electronic and electro-acoustic music. They should also realise that the natural sound of all instruments can be altered by playing style and technique but that this becomes much more varied when played through the various electronic devices on offer. This is likely to play a significant role in learners’ development and they should be encouraged to investigate how ambient soundscapes, as well as instrumental performances, may be created extemporare. They should also be introduced to a range of performance techniques which will undoubtedly involve the processing of live instruments and techniques such as audio mangling and granular synthesis and cloud production in a performance context. This will also involve obtaining a fundamental grasp of associated performance technology including the choice of instruments, processors, microphones and environmental conditions.

Know the historical context of electronic music performance

This aspect of the unit will encompass the history of the electrical adaptation and evolution of musical instruments and the development of musical processing devices within the broader context of the parallel development digital and analogue disciplines of music. This will involve a study of pioneers in music synthesis such as Yamaha, Roland and Moog. Learners will be introduced to the principles of instrument technology, perhaps in a study of individual instruments such as the guitar, keyboards or drums. This study will also look at how the instruments were adapted to the synthetic forms we commonly see today and learners will acquire a working knowledge of the basic science behind the processes involved.

Be able to use music technology in performance

Learners will need to develop live application skills in music technology across a variety of instruments including conventional electric instruments, synthesisers and drum machines as well as associated processing equipment. It might be useful, for example, to make early experiments in an attempt to create and understand distortion, for example by playing electric guitars through tiny speakers and then amplifying the resultant sound. Learners will also need to be familiar with and competent to use popular computer software in performance contexts.

Be able to perform with related art forms using music technology

Learners will need to develop performance skills across a variety of instruments including conventional electric instruments, synthesisers and drum machines and associated processing equipment. It is important that learners are helped to gain a wide appreciation of the various ways in which music technology may feature, enhance or be incorporated within live performance. This should also provide opportunities to encounter a range of venue types such as conventional theatres, site specific venues and art galleries for example.

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Music Technology in Performance Level 3 Unit 67

TEACHING CONTENT

In order to get the most from this unit it is recommended that learners possess some degree of musical skill/or other grounding in music

Know how music technology can be used in performance

It is advisable to begin with exposing the learner to as wide a range of technology-focused performances as possible. Youtube is an obvious source of such material, offering polished professional ‘techno’ performances by artists such as Kraftwerk as well as a large number of student performances. Classic examples worth investigating might include the use of the Theremin in The Beach Boys’ ‘Good Vibrations‘ for example, or the early use of the Moog Synthesiser by The Beatles. The key thing here is variety. Learners should be aware of how technology may be applied to individual instruments such as the guitar or drums but they should also become familiar with a selection of devices commonly used by live performers, (e.g. logjam as ‘drums’) controllers for performance and hacking electronics for music. It is this awareness of the potential for music technology application that will encourage creativity in performance.

Know the historical context of electronic music performance

It may be worth producing a time line of the development of technology illustrating how specific inventions and innovations evolved into the equipment in use today. Familiar instruments such as the electric guitar or the keyboard/synthesiser may be traced back to their 1930s origins with Rickenbacker and Hammond respectively. A link for this kind of aide memoire can be found below in Resources. Notable exponents and practitioners should also be investigated with an examination of outstanding style pioneers such as Pink Floyd. Other examples include The Byrds’ use of phasing and other new techniques on ‘Younger than Yesterday’ (C.B.S, 1967). Outstanding examples of blended ‘traditional’ rock instrumentation can be found in Peter Townshend’s use of sound loops on Baba O’ Riley/Won’t Get Fooled Again. It would be useful if learners are encouraged to ask questions such as ‘How did/come these basic instruments come to be perceived as ‘inadequate’?’ and ‘Why have many musicians progressed retrospectively to ‘unplugged‘ largely acoustic performances? Another interesting question might be ‘Why have ‘electronic’ instruments never reached the popularity and widespread usage of more traditional rock instrumentation?’

Be able to use music technology in performance

For many learners unused to the application of technology beyond the conventional instrumental accessories, it may be necessary to offer guidance. Options may be limited by the resources available at the centre but the process should certainly incorporate opportunities to experiment with at least some of the many devices now available. Processing and modulation equipment should certainly be a part of the experience as should the use of computer software. The range is too great to begin to enumerate and choice should be left to the centre’s discretion and available resources.

Be able to perform with related art forms using music technology

It is almost certain that learners will have limited or no experience of combining music technology performance with other art forms. It is likely that they will need directing towards the potential offered by its application and the many performance opportunities that are available. Learners should be encouraged to create live soundscapes as well as perform both pre-conceived compositions and improvised pieces with an audience present such as supporting a drama project with suitable ambient music for example. It is recommended that learners are allocated projects or briefs to produce music to compliment or enhance alternative art forms such as art exhibitions, site-specific theatre and/or dance, as well as the more traditional scenarios. This will require learners to interact with other artists and introduce them to the concept of artistic collaboration.

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SUGGESTED ASSESSMENT SCENARIOS AND GUIDANCE ON ASSESSMENT

Assessment and Grading Criterion P1

Using research learners will:

• locate and access a series of resources which explore the use of a wide variety of technologies in performance

• create a portfolio which explains and illustrates a selection of these.

• include examples that are wide ranging and contrasting in terms of style, equipment and methodology.

Assessment and Grading Criterion P2

Using research learners will:

• produce a timeline showing the evolution and technological development of three teacher-specified instruments.

• obtain sound recordings rendered as tagged audio files illustrating the milestone sound characteristics of each of these.

Assessment and Grading Criterion P3

Following a given brief in a specific performance context learners will:

• demonstrate the setting up and calibration of a range of instruments and music technologies

• demonstrate basic programming skills.

Assessment and Grading Criterion M1

Learners will:

• form a performance ensemble (minimum of three)

• allocate performance roles

• programme equipment

• rehearse and perform a selection of three contrasting pieces* containing elements of improvisation.

*These may comprise original work and/or new work based on old established pieces.

The process may be evidenced by a combination of teacher observation and the performance which should be video recorded.

Assessment and Grading Criterion D1

In response to a director’s brief, learners will:

• assume the role of music technology designer

• research an alternative dissimilar art form, performance or exhibition

• devise a music technology schematic (set-up and performance) to be integrated therewith

• incorporate programmable and improvised elements.

The process may be evidenced by a combination of a development log or blog combined with video recording.

Assessment and Grading Criterion P4

Following a given brief in a specific performance context, with guidance, learners will:

• perform as part of a music technology performance ensemble

• demonstrate an ability to play/operate equipment mostly free from error

This performance should be video recorded.

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Music Technology in Performance Level 3 Unit 67

Assessment and Grading Criterion M2

Learners will:

• identify a performance context/single art form other than music which offers opportunities to incorporate music technology performance

• devise ways in which music technology may develop or enhance the complementary art form

• perform the devised music technology input.

The process may be evidenced by a combination of a development log or blog combined with video recording.

Assessment and Grading Criterion D2

Learners will:

• assume the role of music technology director

• collaborate with other performers/exhibitors from a dissimilar art form

• apply a music technology schematic (set-up and performance) to be integrated therewith

• oversee the integration process

• direct rehearsals and performance incorporating programmable and improvised elements.

The process may be evidenced by a combination of a development log or blog combined with video recording.

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RESOURCES

Well-equipped recording/performance studio containing mixing consoles, multi-track recording medium/DAW, studio monitors, a selection of microphones, dynamic processors and a range of effects equipment. Where these resources are lacking, centres are advised to carefully consider their ability to fulfil the requirements of the unit. Alternatively, it may be possible to achieve most of the criteria in-house but with an external arrangement in peace to meet some of the more technically demanding activities.

Computer software.

Books

Mortimer Rhind-Tutt Music Technology from Scratch

Julio d’ Escriván Music Technology (Cambridge Introductions to Music)

Steve De Furia The Sampling Book (Ferro music technology series)

Mark Katz Capturing Sound: How Technology Has Changed Music

Hans-Joachim Braun Music and Technology in the Twentieth Century

Websites

http://www.youtube.com/watch?v=zpG3xYmBW_o

http://www.bemuso.com/musicbiz/musicbusinesstimeline.html

http://blog.digitalstudent.co.uk/tag/history-of-music-technology

http://www.thestudentroom.co.uk/showthread.php?t=1768664&page=3

http://www.musiconmypc.co.uk/art_glossary.php

http://www.youtube.com/watch?v=sy7djnL5VQQ

http://www.granularsynthesis.com/software.php

http://www.audiomulch.com

http://www.synthtopia.com

LINKS TO NOS

Suite Ref National Occupational Standards

Live Events and Promotion; Sound Recording CCMT34 Prepare and operate live sound and performance technology and Music Technology

CONTACT USStaff at the OCR Customer Contact Centre are available to take your call between 8am and 5.30pm, Monday to Friday. We’re always delighted to answer questions and give advice.

Telephone 02476 851509Email cambridgetechnicals@ocr.org.ukwww.ocr.org.uk