Page 1 of 1

Module Code - Title:


Year Last Offered:


Hours Per Week:













Grading Type:


Prerequisite Modules:

Rationale and Purpose of the Module:

Students explore a range of historical and contemporary composition and creative music practices, styles and repertoires. Student contextualise their own emerging practice and reflect on what it might mean to be a creative musician today.


In this seminar students explore a range of historical and recent developments in music making practices, styles, repertoires and ideas. The syllabus also covers contemporary issues such as the emerging creative dialogue between orality/aurality and literacy in music making, the development of interdisciplinary music practices, and the evolving relationship between music composition, performance and improvisation.  

Learning Outcomes:

Cognitive (Knowledge, Understanding, Application, Analysis, Evaluation, Synthesis)

Explore, reflect upon, and deepen understanding and appreciation of a variety of historical and contemporary composition and creative music practices. Develop skills in analysis and evaluation of artistic work. Expand knowledge of creative music practices, exemplary musicians, and the broader social and cultural contexts of historical and contemporary music making. 

Affective (Attitudes and Values)

Develop a deeper appreciation of diverse forms of musical creativity. Expand knowledge and understanding of historical and contemporary artistic ideas, concepts and practices. 

Psychomotor (Physical Skills)


How the Module will be Taught and what will be the Learning Experiences of the Students:

This module is taught through a combination of weekly seminars and tutorials. Engaging with scholars, composers and musicians, audio-visual materials and relevant literature, students explore recent developments and discuss contemporary issues in creative music-making practices. This module is delivered in line with best international pedagogical practice and is aligned with the UL graduate attributes.

Research Findings Incorporated in to the Syllabus (If Relevant):

Prime Texts:

Douglas Barrett, G.D. (2016) After Sound: Toward a Critical Music , Bloomsbury
Gottschalk, J (2016) Experimental Music Since 1970 , Bloomsbury Academic
Griffiths, P. (1994) Modern Music: A Concise History , Thames and Hudson
Kramer, J.D. (2016) Postmodern Music, Postmodern Listening , Bloomsbury Academic
Rutherford-Johnson, T (2017) Music after the Fall: Modern Composition and Culture since 1989 , University of California Press
Schafer, M. (1993) The Soundscape , Destiny Books
Tenzer, M. (Ed.) (2006) Analytical Studies in World Music , Oxford University Press
Tenzer, M. and Roeder (2011) Analytical and Cross-Cultural Studies in World Music , Oxford University Press

Other Relevant Texts:

Adorno, T.W. (2006) Philosophy Of New Music , Minnesota University Press
Adorno, T.W. (2002) Essays on Music , University of California Press
Attali, J and Massumi, B. (1985) Noise: The Political Economy of Music , Manchester University Press
Auner, J. (2013) Music in the Twentieth and Twenty-First Centuries , W.W Norton and Co.
Demers, J. (2010) Listening through the Noise: The Aesthetics of Experimental Electronic Music , Oxford University Press
Hegarty, P. (2007) Noise Music: A History , Continuum Books

Programme(s) in which this Module is Offered:

MAITMPTFA - Irish Traditional Music Performance

Semester - Year to be First Offered:

Module Leader: