MUSONIC 1220 - Sonic Arts

North Terrace Campus - Semester 2 - 2015

Sound Arts involves the artistic and technical application of sound. This course will develop an understanding of sonic arts fundamentals in a range of areas that may include: sound design, sound phenomenology, film sound, game sound, acoustic ecology, ringtones, product design, sonic iconography, sound logos and multimedia audio. This will be achieved by theoretically and practically exploring the concept of sonic arts through lectures, tutorials and workshops. In particular students will examine a range of techniques such as: music concrete, Foley, sound processing, synthesis, sound effects, procedural audio and sound programming; complete readings and listenings; and perform practical exercises that promote investigative learning and research. The course has the following learning objectives: facilitate new understandings and exploratory approaches in sonic arts practice; extend knowledge and develop new artistic and technical skills in sound creation and design; and promote a learning process and reflexive skill set with regard to future practice, thus enabling students to adapt to the ever expanding and rapidly changing area of sonic arts and related areas of sound design.

  • General Course Information
    Course Details
    Course Code MUSONIC 1220
    Course Sonic Arts
    Coordinating Unit Elder Conservatorium of Music
    Term Semester 2
    Level Undergraduate
    Location/s North Terrace Campus
    Units 3
    Contact Up to 4 hours per week
    Available for Study Abroad and Exchange Y
    Prerequisites MUSONIC 1000
    Course Description Sound Arts involves the artistic and technical application of sound. This course will develop an understanding of sonic arts fundamentals in a range of areas that may include: sound design, sound phenomenology, film sound, game sound, acoustic ecology, ringtones, product design, sonic iconography, sound logos and multimedia audio. This will be achieved by theoretically and practically exploring the concept of sonic arts through lectures, tutorials and workshops. In particular students will examine a range of techniques such as: music concrete, Foley, sound processing, synthesis, sound effects, procedural audio and sound programming; complete readings and listenings; and perform practical exercises that promote investigative learning and research. The course has the following learning objectives: facilitate new understandings and exploratory approaches in sonic arts practice; extend knowledge and develop new artistic and technical skills in sound creation and design; and promote a learning process and reflexive skill set with regard to future practice, thus enabling students to adapt to the ever expanding and rapidly changing area of sonic arts and related areas of sound design.
    Course Staff

    Course Coordinator: Mr Christian Haines

    Staff: 
    Mr Christian Haines
    christian.haines@adelaide.edu.au

    831 33799
    Schulz 9.11
    Course Timetable

    The full timetable of all activities for this course can be accessed from Course Planner.

  • Learning Outcomes
    Course Learning Outcomes
    1. To provide students with new understandings and exploratory approaches in sonic arts theory and practice.
    2. To equip students with knowledge and develop new artistic and technical skills in sound creation and design.
    3. To develop students learning processes and reflexive skill set with regard to future practice, thus enabling students to adapt to the ever expanding and rapidly changing area of sonic arts and related areas.
    University Graduate Attributes

    This course will provide students with an opportunity to develop the Graduate Attribute(s) specified below:

    University Graduate Attribute Course Learning Outcome(s)
    Knowledge and understanding of the content and techniques of a chosen discipline at advanced levels that are internationally recognised. 1,2,3
    The ability to locate, analyse, evaluate and synthesise information from a wide variety of sources in a planned and timely manner. 1,2,3
    An ability to apply effective, creative and innovative solutions, both independently and cooperatively, to current and future problems. 2
    A proficiency in the appropriate use of contemporary technologies. 1,2,3
    A commitment to continuous learning and the capacity to maintain intellectual curiosity throughout life. 3
  • Learning Resources
    Required Resources

    Hardware

    • 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.

    Sound Levels & Hearing Protection

    This course may require using spaces where a dB meter has been installed. If you exceed the set dB limit for the space, the lights will flash.  Students found exceeding these levels will have their booking privileges revoked for two weeks, and repeat offenders may have their booking privileges revoked for the remainder of the academic year.

    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: http://music.adelaide.edu.au/hsw/documents/

    Recommended Resources

    Below are a number of recommended resources. Please note that in terms of the included books and links, these are meant purely as general starting points to provide points of departure to other library and online sources and research.

    Books

    Bandt, R. (2001). Sound sculpture: intersections in sound and sculpture in Australian artworks. Sydney, N.S.W, Craftsman House.

    Cancellaro, J. (2006). Exploring sound design for interactive media. Clifton Park, NY, Delmar Learning.

    Childs, G. W. (2006). Creating Music and Sound for Games, Course Technolgy. *

    Chion, M. and C. Gorbman (1999). The voice in cinema. New York, N. Y, Columbia University Press.

    Chion, M., W. Murch, et al. (1994). Audio-vision: sound on screen. New York, Columbia University Press.

    Cipriani, A., M. Giri, et al. (2010). Electronic music and sound design: theory and practice with Max/MSP. Rome, ConTempoNet.

    Collins, K. (2008). Game sound: an introduction to the history, theory, and practice of video game music and sound design. Cambridge, Mass, MIT.

    Farnell, A. (2010). Designing sound. Cambridge, Mass, MIT Press.

    Kaye, D., J. Le Brecht, et al. (1992). Sound and music for the theatre. New York, Back Stage Books.

    LaBelle, B. (2006). Background noise: perspectives on sound art. New York, Continuum International.

    Labelle, B. (2010). Acoustic territories: sound culture and everyday life. US, Continuum International Publishing. *

    Landy, L. (2007). Understanding the art of sound organization. Cambridge, MA, Mit Press. *

    Miranda, E. R. (2002). Computer sound design: synthesis techniques and programming. Boston, Mass, Focal Press.

    Roads, C. (1996). The computer music tutorial. Cambridge, Mass, MIT Press.

    Roads, C. (2001). Microsound. Cambridge, Mass, MIT Press.

    Russ, M. (2008). Sound Synthesis and Sampling. Burlington, Focal Press. *

    Schafer, R. M. (1977). The tuning of the world. New York, Knopf.

    Sexton, J. (2007). Music, sound and multimedia: from the live to the virtual. Edinburgh, Edinburgh University Press.

    Sider, L., D. Freeman, et al. (2003). Soundscape: the School of Sound lectures, 1998-2001. London, Wallflower Press.

    Sonnenschein, D. (2001). Sound design: the expressive power of music, voice, and sound effects in cinema. Seattle, Wash, Michael Wiese Productions.

    Wishart, T. (1985). On sonic art. York, Imagineering Press.

    Wishart, T. (1994). Audible design: a plain and easy introduction to practical sound composition. York, England, Orpheus the Pantomime.

    Whittington, W. (2007). Sound Design and Science Fiction, University of Texas Press. *

    Yewdall, D. L. (2012). Practical art of motion picture sound. Waltham, MA, Focal Press.

    * indicates that this book is available as an eBook via the University of Adelaide library search catalog: http://www.adelaide.edu.au/library/

     Links

     "Interactive Audio Special Interest Group." 2007, from http://www.iasig.org/.

    "Film Sound ", 2006, from http://filmsound.org/game-audio/.

    "UBUWEB." 2007, from http://www.ubu.com/sound/index.html.

    "Social Sound Design." 2012, from http://socialsounddesign.com/.

    "Sound + Design." 2012, from http://www.soundplusdesign.com/.

    "Designing Sound." 2011, from http://designingsound.org/.

    "10 Essential Sound Design Blogs." 2012, from http://www.blastwavefx.com/blog/2009/12/08/10-essential-sound-design-blogs/.

    Listening

    Students can listen to musical works through the library's Naxos subscription (see library catalogue, search using Naxos as the title and limit search to ‘electronic resources’. You will be prompted to enter your uni ID number and password to access the Naxos catalogue). There is a wealth of material available for listening (but not downloading). The link to the Naxos catalogue is as follows:
    http://proxy.library.adelaide.edu.au/login?url=http://uoa.naxosmusiclibrary.com/

    Library

    The Music Library located in the Hartley building is an excellent source for music, literature and recordings: http://www.adelaide.edu.au/library/branch/eml/

    Referencing Guide

    Bibliography and references are to be cited according to the Music Referencing Guide: http://libguides.adelaide.edu.au/musicreferencing

    Online Learning

    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: http://myuni.adelaide.edu.au.

  • Learning & Teaching Activities
    Learning & Teaching Modes

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

    Lecture

    • Lectures will deliver a specific topic each week. The topic will consist of ideas and concepts; technologies; and creative practitioners in the field.

    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.

    Workshop

    • 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.
    Further, students will be presented with additional theoretical and/or practical materials. The materials expand on the topic and compliment, reinforce and extend the concepts presented.
    Workload

    The information below is provided as a guide to assist students in engaging appropriately with the course requirements.

    This course consists of up to 48 hours of direct contact or structured non-contact - 4 hours per week over 12 weeks for the seminars and workshops, where students will play an active role in the practice, refinement, consolidation and extension of their knowledge and understanding. In addition students will spend a minimum of 108 non-contact hours over the duration of the course on self-initiated learning and research, reading, writing, practice and assessment in order to pass the course, making the minimum workload 156 hours.

    Learning Activities Summary

    In order to be relevant, contemporary and up-to-date, this course uses a reflexive ‘just-in-time’ organisation that adjusts its structure and delivery according to the most current changes in the field, lecture-centred research practice and peer-student interest. The structure of the course is broken down into a range of topics and more specific sub-topics that vary according to changes in the field. Each of the topics is supported by theory and practice through lectures, tutorials and workshops. More information about the format of the classes can be found in the section  “LEARNING AND TEACHING MODES”.

    Topics will vary and may include:

    • sound art, sound composition, game sound, film sound, acoustic ecology, product acoustic design, sonic iconography, sound logos and multimedia audio
    • listening techniques, conceptual and analytical frameworks
    • sound design and music technologies
    • design techniques, concepts and issues such as: Foley, sound processing, synthesis, sound effects and procedural audio
    Specific Course Requirements

    EMU Facilities Access Provisions

    This course will involve using the resources of the Electronic Music Unit (EMU). This includes facilities such as studios, recording spaces and digital audio workstations. For more information about these facilities and how to make bookings go to the EMU website: http://www.emu.adelaide.edu.au/

    In order for students to complete the course they must gain ongoing and permanent access to EMU. Access and use of EMU is based upon the following:

    1. Users must complete and pass the EMU Guide Assessment (EGA).  In order to pass the EGA users must receive a 90% or above grade. Users will have a maximum of 3 attempts at passing the EGA before being prohibited from taking the EGA further. If a user fails to pass the EGA after 3 attempts, or doesn’t pass by the end of week 4 of the course (which ever comes first), they will not be permitted to continue the course, or any other courses requiring access to EMU, and won’t be provided access or permission to use any of the EMU facilities.
    2. Users agree to and sign the EMU User Agreement (EUA). Users found in breach of the EUA will automatically have access penalties imposed:
      • First breach: students will have all booking privileges removed and have after-hours access suspended for a period of 4-weeks.
      • Second breach: students will have all booking privileges removed and have after-hours access suspended for until start of the next academic semester.
      • Third breach: students will have all booking privileges removed and all access suspended until the start of the next academic year

    Information is available on the EMU website: https://www.emu.adelaide.edu.au/intranet/emu_guide/

    Other Expectations

    Except where otherwise indicated by the lecturer, tutor or workshop instructor – mobile phones, laptops, PDAs, recording devices and other similar technology must be switched off before lessons or classes begin, and kept off for the duration.

  • Assessment

    The University's policy on Assessment for Coursework Programs is based on the following four principles:

    1. Assessment must encourage and reinforce learning.
    2. Assessment must enable robust and fair judgements about student performance.
    3. Assessment practices must be fair and equitable to students and give them the opportunity to demonstrate what they have learned.
    4. Assessment must maintain academic standards.

    Assessment Summary
    Name Description  Due %

    Learning
    Outcomes

    Type
    Portfolio Over the course of the semester students will complete assignments as part of a portfolio. Each assignment will examine the student's creative, practical and theoretical understanding and will be assessed during the workshops and/or tutorials. Note - No Late Submissions. Scheduled Classes 35 1, 2, 3, 4 Summative
    Name Description  Due %

    Learning
    Outcomes

    Type
    Exam Students will complete an exam that will assess and evaluate their ability to identify, understand and explain key theoretical and practical concepts in the course. Note - No Late Submissions. Week 14 35 1, 2 Summative
    Name Description  Due %

    Learning
    Outcomes

    Type
    Project Students will complete a major project in the field of Sound Design. The major project will represent a synthesis of creative, technical and theoretical concepts presented during the course. Note - No Late Submissions.

    Week 15

    30 2, 3, 4 Summative

    Formative Assessment: Classes will contain embedded formative assessment tasks that may include student presentations, discussions, practical exercises, demonstrations and out-of-class work that will enable students to engage with the practical and theoretical concepts presented in order to complete their summative assessments.

    Assessment Related Requirements

    Hurdle Assessment

    All students must complete the requirements under “SPECIFIC COURSE REQUIREMENTS ‘EMU Facilities Access Provisions’”. Students who fail complete these items have failed the course.

    Assessments

    All students must complete and submit all assessments. If a student fails to complete and submit all assessments by the due date and fails to produce the appropriate medical or compassionate certificates, the student may be deemed to have failed that course, irrespective of assignments previously completed. Further, the student will be deemed ineligible for supplementary assessments. Students should consult their respective lecturer, tutor or demonstrator for further information.

    Attendance Expectation & Penalty

    Students are expected to attend all classes. If a student fails to attend at least 75% of tutorials or workshops in a course and fails to produce the appropriate medical or compassionate certificates, the student is deemed to have failed that course, irrespective of assignments previously completed. Students who arrive 20 minutes or later after the start of a class will be marked as absent.

    Leave

    Extenuating circumstances may occasionally affect a student’s ability to participate in a rehearsal, workshop, class, lecture, tutorial or performance.  In such cases leave may, upon application using the leave form (available from the Music Office), be approved by the relevant staff member (this could be the Head of Studies, teacher, conductor, lecturer or course coordinator as appropriate). Types of leave include: sick leave; compassionate leave; and professional development leave.

    Assessment Detail

    Refer to “ASSESSMENT SUMMARY”

    Submission

    Assessments and Exams

    Students must be available during the identified University teaching, academic and examination periods. Students are not entitled to sit an examination or submit an assessment at another time, nor are they entitled to any other concessions if an examination or assessment conflicts with a planned vacation or special event. Results from assessments and examinations are usually sent to students via email and/or myUni.

    Late Submission

    Assignments where late submissions are permitted and that are submitted after the due date and time will incur a 5% penalty (from the assignment total of 100%) per day (24 hour period) for a maximum of 4 days (weekend days included). After this time the assignment will not be marked for assessment or feedback. Note – typically this does not apply to assessments where the assessment is conducted at a fixed time and location, such as an exam, workshop, practical test, performance or presentation – please refer to the individual assessments for further information.

    Course Grading

    Grades for your performance in this course will be awarded in accordance with the following scheme:

    M10 (Coursework Mark Scheme)
    Grade Mark Description
    FNS   Fail No Submission
    F 1-49 Fail
    P 50-64 Pass
    C 65-74 Credit
    D 75-84 Distinction
    HD 85-100 High Distinction
    CN   Continuing
    NFE   No Formal Examination
    RP   Result Pending

    Further details of the grades/results can be obtained from Examinations.

    Grade Descriptors are available which provide a general guide to the standard of work that is expected at each grade level. More information at Assessment for Coursework Programs.

    Final results for this course will be made available through Access Adelaide.

  • Student Feedback

    The University places a high priority on approaches to learning and teaching that enhance the student experience. Feedback is sought from students in a variety of ways including on-going engagement with staff, the use of online discussion boards and the use of Student Experience of Learning and Teaching (SELT) surveys as well as GOS surveys and Program reviews.

    SELTs are an important source of information to inform individual teaching practice, decisions about teaching duties, and course and program curriculum design. They enable the University to assess how effectively its learning environments and teaching practices facilitate student engagement and learning outcomes. Under the current SELT Policy (http://www.adelaide.edu.au/policies/101/) course SELTs are mandated and must be conducted at the conclusion of each term/semester/trimester for every course offering. Feedback on issues raised through course SELT surveys is made available to enrolled students through various resources (e.g. MyUni). In addition aggregated course SELT data is available.

  • Student Support
  • Policies & Guidelines
  • Fraud Awareness

    Students are reminded that in order to maintain the academic integrity of all programs and courses, the university has a zero-tolerance approach to students offering money or significant value goods or services to any staff member who is involved in their teaching or assessment. Students offering lecturers or tutors or professional staff anything more than a small token of appreciation is totally unacceptable, in any circumstances. Staff members are obliged to report all such incidents to their supervisor/manager, who will refer them for action under the university's student’s disciplinary procedures.

The University of Adelaide is committed to regular reviews of the courses and programs it offers to students. The University of Adelaide therefore reserves the right to discontinue or vary programs and courses without notice. Please read the important information contained in the disclaimer.