Noise – and resistance in the material

Teacher: Jakob Weigand Goetz

All music is an expression of the time that it comes from. It bears with it it’s own codes in the shape of opposition / noise / friction / resistance.  Some music is filled with resistance, while other music has very little of it. During this module will we explore what resistance in the material means and what it takes for it to create surplus value in relation to the creation itself. We will be starting off in the five parameters of music: MELODY, HARMONY, RING, RHYTHM AND FORM and take a look at how composers, songwriters and producers have at different times created resistance in these parameters.

Our main focus will be a close study of the parameter RING (including sound and noise), that have been a central way of expression for sheet music, jazz, rock, electronica and sound art for the last 70 years. Offsetting in the sound of principal works such as György Ligeti, Miles Davis, My Bloody Valentine and Oval, and newer works of artists such as Tim Hecker, Jon Hopkins and Hanna Hartman, and/or recordings of the class itself, we will hold a continuous open discussion of what possibilities we as performing artists have to create exciting and innovative resistance and noise in the material.


PREREQUISITES
  • Interest in and curiosity towards auditive analysis
  • Interest in and curiosity towards the influence points of music
  • Experience with composing, arranging and/or producing music is a plus for the general yield of the course

LEARNING OUTCOMES

By the end of the module, the student will:

  • have acquired knowledge of the musical parameters and their mutual affinity in terms of analysis
  • have acquired knowledge of the aesthetic positions of the different genres and the use of resistance in the material
  • be able to employ an analytical approach to be able to produce constructive resistance in the material

CONTENTS

We will work with the following areas:

  • Musical aesthetics
  • music psychology
  • music sociology
  • comparative analyses in regards to resistance in literature and visual arts.

TEACHING AND WORKING METHODS
  • Presentations
  • Debates
  • Group assignments
  • Practical exercises
  • The module can be taught by remote learning

GROUP FORMATION

Normally 8-9 students per class.


ASSESSMENT

A topic of the student’s choice will be presented within the framework of the themes of the module in the form of an essay (5 standard pages). The essay is turned in through Wiseflow before the deadline that is set by the Study Administration.


REFERENCES

Györgi Ligeti: Apparitions, Articulation, Atmosphères, Lontano 

– Miles Davis: Blue In Green, Round About Midnight, Riot 

– My Bloody Valentine: Come In Alone, To Here Knows When, In Another Way 

– Oval: Szenariodisc2 + ovalprocess 0.4, 0.8, 11.1, 11,2  

Together we will select all new tracks to be parametrically analyzed, such as:

– Tim Hecker: Radio Spiricom, Azure Azure, Black Refraction, Phantom On a Pedestal 

– Jon Hopkins: Abandon Window, Collider, Form By Firelight, Singularity 

– Hanna Hartman: Att fälla grova träd är förknippat med risker 

Litteratur:

Alex Ross: The Rest Is Noise (2007), Henrik Marstal & Henriette Moos: Filtreringer (2001), David Toop: Ocean of Sound (1995), Thom Holmes: Electronic and Experimental Music: Technology, Music and Culture (2008) samt R. Murray Schafer: The Soundscape (1977). 

TIME

One bachelor semester. Probably Fridays (not scheduled yet).

PLACE

Rytmisk Musikkonservatorium

ONLINE

YES

LEVEL

BA-level

ECTS

2,5

LANGUAGE

Danish – English if required by participants