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1. Students will be able to identify, describe and explain music technology fundamentals associated with audio and MIDI.
2. Students will be able employ and apply musical technologies in a manner that displays technical and creative understanding and fluency.
3. Students will be able to demonstrate independent, imaginative and creative approaches to problem solving using musical technologies.
4. Students will develop research skills and a critical understanding of music technology and its associated areas.

Hosken, Dan. Introduction to Music Technology. 2014.Web <>.

Many of the weekly tutorial readings use this book. An electronic version of the book is available via the link above to the University's library. You will need to login with your university ID and password. PDF copies of pages can be downloaded or printed. Physical copies (hard and soft cover) versions of this book are available at various retail outlets.

• USB Stick or portable hard drive with enough capacity to store files associated with the course and formatted as Apple OSX HFS+.
• Stereo headphones with a 6.5mm male adaptor.
• Note – students must bring both their USB storage and Headphones (with adaptor) to university, as they are required for various classes and for using laboratories and studios.

In order to minimise risk in noise-prone situations, the Conservatorium makes both reusable gel ear-plugs and disposable foam ear-plugs available to students and staff free of charge at all times. Students and staff are also urged to consider purchase of customised personal hearing protection.

For more information regarding sound levels, hearing and hearing loss please refer both to the full content of the O'Brien Report and to the excellent publication by Canadian audiologist/academic Marshall Chasin, entitled Hear the Music: Hearing Loss Prevention for Musicians both available here:

• Brown, Andrew R. Computers in Music Education : Amplifying Musicality. New York: Routledge, 2007.
• Cary, Tristram. Illustrated Compendium of Musical Technology. London: Faber, 1992.
• Guérin, Robert. MIDI Power! 2nd ed. Boston, MA: Thomson Course Technology.
• Gurevitz, Steven, and Paul Middleton. Music Technology Key Concepts and Practical Projects. Workbook ed. San Diego: Focal Press [Imprint] Elsevier Science & Technology Books.
• Holmes, Thom. The Routledge Guide to Music Technology. Routledge Guides. New York: Routledge, 2006.
• Huber, David Miles. The Midi Manual a Practical Guide to Midi in the Project Studio. 3rd ed. Burlington, MA: Focal Press/Elsevier.
• Kirk, Ross, and Andy Hunt. Digital Sound Processing for Music and Multimedia. Oxford: Focal, 1999.
• Manning, Peter. Electronic and Computer Music. Rev. and expanded ed. Oxford ; New York: Oxford University Press.
• Middleton, Chris, and Allen Zuk. The Complete Guide to Digital Audio : A Comprehensive Introduction to Digital Sound and Music-Making. Lewes, [England]: Ilex, 2004.
• Mike, Collins. Pro Tools 9: Music Production, Recording, Editing, and Mixing Music Production, Recording, Editing, and Mixing. NL: Focal Press, 2011.
• Miranda, Eduardo Reck. Computer Sound Design : Synthesis Techniques and Programming. Music Technology Series. 2nd ed. Oxford ; Boston, Mass.: Focal Press, 2002.
• Pohlmann, Ken C. Principles of Digital Audio. 5th ed. New York ; London: McGraw-Hill, 2005.
• Roads, Curtis. The Computer Music Tutorial. Cambridge, Mass.: MIT Press, 1996.
• Russ, Martin. Sound Synthesis and Sampling. Music Technology Series. 2nd ed. Boston: Elsevier/Focal Press, 2004.
• Ward, Kevin. Pro Tools 9: The Mixer's Toolkit: The Mixer's Toolkit. NL: Focal Press, 2011.
• Williams, David Brian, and Peter Richard Webster. Experiencing Music Technology : Software, Data, and Hardware. New York London: Schirmer Books; Prentice Hall International, 1996.
• Wishart, Trevor, and Simon Emmerson. On Sonic Art. Contemporary Music Studies ; V. 12. New and rev. / ed. New York, N.Y.; Amsterdam: Routledge ; Harwood Academic Publishers, 1996.

• Kirn, Peter. "Create Digital Music".  2012. 16 January 2012. <http://createdigitalmusic.com/>.
• "MIDI Manufacturer's Association".  2003. <http://midi.org/>.
• "Sound on Sound Magazine".  1985. 17 January 2012. <http://www.soundonsound.com/>.

MyUni is a crucial part of this course and will provide students with access to assessment and learning materials, such as quizzes, discussion boards, slide presentations, readings, links, sound and video. Materials will be provided on a topic-by-topic basis over the semester: .

The course structure and content is delivered through a range of classes and materials. The classes in this course consist of online lectures, tutorials and workshops.

• Online lectures will deliver a specific topic each week. The topic will consist of ideas and concepts; technologies; and  practitioners in the field. Students must view the online lecture prior to the attending the tutorial.

• Tutorials provide an opportunity to discuss and ask questions about the weekly lecture and topic for the course; reinforce concepts and ideas from the lecture and explore new territory.
• Students are required to complete the weekly reading before their tutorial; come to the tutorial with questions and thoughts on the reading; and be prepared to actively engage in discussion on the weekly topic and reading.

• Workshops will explore a wide range of practical aspects of the course and its associated topics and concepts.
• Students will be set regular practical tasks as part of their portfolio assessment and be required to present their work during the workshop.
• Although workshops will from time to time contain presentations from the instructor, the workshop will largely be an opportunity for students to obtain assistance with their practical and creative development and practice. Students need to actively and on a week-by-week basis maintain their practical and creative development, using the workshop to raise issues and solve problems.
• Finally, the workshops provide a forum by which students can begin to explore their own ideas and practice using lecture and tutorial materials as inspiration and points of departure.