Course Information

Course Name	Turkish	Elektronik Müzik Tarihinde Eleştirel Araştırmalar
	English	Critic.Stud.in Elec.Music His.
Course Code	MDP 663E	Credit	Lecture (hour/week)	Recitation (hour/week)	Laboratory (hour/week)
Semester	-	3	3	-	-
Course Language		English
Course Coordinator		Emmanouıl Ekmektsoglou
Course Objectives		1. To examine critical turning points in electronic music history. 2. Through weekly readings, to engage with the major discursive currents or conflicts at each of these points. 1. Through careful study of works of electronic music, to establish a critical perspective on the role that discourse plays in compositional practice.
Course Description		A detailed examination of significant critical debates in electronic music history from the late 19th century to the present day, the relationship of these debates to various compositional schools or genres, and the role of discourse generally in electronic music practice. The impact of culture / technology debates on electronic music making are also explored.
Course Outcomes		Graduate students who successfully pass this course gain the following knowledge skills and competencies 1. The knowledge of the major discursive trends influencing electronic music practice over the past 150 years. 2. The ability tocontextualize these discourses within culture and technology studies where appropriate. 3. The knowledge of electronic music genres since 1877. 4. Based on their analysis of current debates in electronic music,the competency on evaluating future developments in the field in the context of electronic music discourse and criticism.
Pre-requisite(s)
Required Facilities
Other
Textbook
Other References		C. Dobrian and D. Koppelman. 2006. “The ’E’ in NIME: Musical Expression with New Computer Interfaces,” in Proceedings of the 2006 Conference on New Interfaces for Musical Expression. Curtis Roads. 1996. The Computer Music Tutorial, Cambridge, MA: MIT Press. L. Russolo. 1967. The Art of Noise. A Great Bear Pamphlet, Something Else Press. Joel Chadabe. 1996. “The Great Opening Up of Music to All Sounds,” in Electric Sound: The Past and Promise of Electronic Music, Prentice Hall. D. Smalley. 1997. “Spectro-morphology: explaining sounds-shapes,” Organized Sound 2(2), Cambridge University Press. Barry Truax. 1995. Sound in Context: Soundscape Research and Composition at Simon Fraser University, Ann Arbor, MI: Scholarly Publishing Office, University of Michigan Library. Edgar Varèse and C. Wen-chung. 1966. “The Liberation of Sound,” Perspectives of New Music 5(1) (Autumn-Winter 1966).

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