MUSONIC 2820 - Sound Design for Film II
North Terrace Campus - Semester 2 - 2019
General Course Information
Course Code MUSONIC 2820 Course Sound Design for Film II 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 or equivalent Incompatible MUSONIC 3820 Assumed Knowledge Students must be fluent in use of a digital audio workstation; for example: ProTools, Logic Pro, Ableton Live etc. Restrictions Priority is given to BMus and BCtveArts students but available to all students Course Description This course will develop an understanding of sound design for film/video and its associated components such as: music, dialogue and voice, ambience and effects. This will be achieved by theoretically and practically exploring the concept of sound design through lectures, tutorials and workshops. In particular students will examine a range of topics, technologies and techniques such as: history of sound in film, composition, effects creation, mixing, production, sourcing and clearance, delivery, management and quality assurance; complete readings and listening/viewings; 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 Coordinator: Dr Luke HarraldDr Luke Harrald
Office: Schulz 909
The full timetable of all activities for this course can be accessed from Course Planner.
Course Learning OutcomesThrough successful completion of this course students will:
1) Develop new understandings and exploratory approaches in sonic arts practice;
2) Extend knowledge and develop new artistic and technical skills in sound creation and design.
3) Develop a reflexive skill set with regard to future practice, thus enabling students to adapt to the rapidly changing area of sonic arts and related areas of sound design.
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) Deep discipline knowledge
- informed and infused by cutting edge research, scaffolded throughout their program of studies
- acquired from personal interaction with research active educators, from year 1
- accredited or validated against national or international standards (for relevant programs)
1, 2 Critical thinking and problem solving
- steeped in research methods and rigor
- based on empirical evidence and the scientific approach to knowledge development
- demonstrated through appropriate and relevant assessment
1, 2 Teamwork and communication skills
- developed from, with, and via the SGDE
- honed through assessment and practice throughout the program of studies
- encouraged and valued in all aspects of learning
1 Career and leadership readiness
- technology savvy
- professional and, where relevant, fully accredited
- forward thinking and well informed
- tested and validated by work based experiences
1, 2, 3 Self-awareness and emotional intelligence
- a capacity for self-reflection and a willingness to engage in self-appraisal
- open to objective and constructive feedback from supervisors and peers
- able to negotiate difficult social situations, defuse conflict and engage positively in purposeful debate
Required Resources• Class handouts and weekly materials placed on MyUni.
• USB 2.0 Stick or portable hard drive with enough capacity to store files associated with the course and formatted as HFS+ (OSX) or FAT (Windows – Do not use NTFS).
• 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 using the EMU Audio Suite.
Burt, George (1994) The Art of Film Music. Northeastern University Press, Boston.
*Costandinides Costas (2010) From Film Adaption to Post-Celluloid Adaption: Rethinking the Transition of Popular Narratives and Characters Across Old and New Media. Continuum International Publishing, London.
*Guerin, Frances (2005) Culture of Light: Cinema And Technology in 1920’s Germany. University of Minnesota Press, Minneapolis, USA.
*Hayward, Phillip (2009) Genre, Music and Sound :Terror Tracks : Music, Sound and Horror Cinema. Equinox Publishing Ltd, London.
*Holte, James C. (1997) Dracula in the Dark: The Dracula Film Adaptions. Greenwood Press, Westport, CT. USA. Prendergast, Roy (1992) Film Music: a neglected art. Norton & Company, New York.
Skal, David (1990) Hollywood Gothic: The Tangled Web of Dracula from Novel to Stage to Screen. Norton, New York.
*Spandoni, Robert (2007) The Coming of Sound Film and the Origins of the Horror Genre. University of California Press, Berkeley, CA.
*Sonnenschein, David (2001) Sound Design: The Expressive Power of Music, Voice, and Sound Effects in Cinema. Michael Wiese Productions, California.
Stavrou, Michael (2003) Mixing with your mind: closely guarded secrets of sound balance engineering. Flux Research, Mosman, NSW.
Note most of these books are available in the library. Resources denoted with * indicates the book is available as an e-reader through your university account.
Filmsound.org – Learning space dedicated to the Art and Analysis of Film Sound Design. www.filmsound.org
Soundtrack.net – site and repository dedicated to film soundtracks. www.soundtrack.net
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/
Music Resources Guide
The Music Resources Guide contains quick links to key music databases for scholarly research and online listening. It also contains links to websites of publicly available online scores, collected editions, and professional associations. Here too you can find a regularly updated list of new books, scores, CDs and DVDs available in the Elder Music Library: http://libguides.adelaide.edu.au/music.
Online LearningLearning materials and assessment will be placed on MyUni âÂÂ refer to http://myuni.adelaide.edu.au
Learning & Teaching Activities
Learning & Teaching ModesThe course structure and content is delivered through a range of classes and materials. Class delivery modes include a weekly seminar, tutorial and practical workshop. The classes in this course use a format where students are presented with theoretical and/ or practical content through the seminar. The theoretical content creates a topic framework that students will expand through discussions and exercises in the tutorial, and practically through the workshop. Students will also be expected to further expand the topics presented through using out-of-class resources in their own time. The resources will compliment, reinforce and extend the concepts presented.
The classes provide theoretical explanations of film scoring and sound design concepts; their creative and technical application in various film styles; and their practical application in an audio post-production environment through supervised sessions using music technology.
The information below is provided as a guide to assist students in engaging appropriately with the course requirements.In addition to the required contact hours for this course, students are expected to play an active role in the practice, refinement and consolidation of their knowledge and understanding. For each hour of this course students will need to spend on average an additional minimum of 3 - 4 hours per week on readings, practice, self-initiated learning and research in order to pass the course.
Learning Activities SummaryThe course structure and content will examine the areas below through weekly theoretical and/or practical demonstrations and exploration. The following list of topics is supplied as a guide, and may change depending on needs arising through the semester.
Further detail regarding weekly content can be found on MyUni.
Week 1 – Course Introduction & Introduction to the Audio Post Production Process
Week 2 – Sound Design Introduction: Audio Post-Production (continued). Storyboarding a creating a sound plan
Week 3 – Sound Design (Part 2): Breaking down the shot & considering Cues, Hitpoints and Synchronisation
Week 4 – Foley Art, sound sourcing and recreation
Week 5 – Major Project Overview & Introduction to Non-Diegetic Musical Treatments
Week 6 – Designing Sound Effects; Environment and the Sound Scape
Week 7 – Introduction to Advertising / additional income streams beyond film for your studio (presentation in workshop)
Week 8 – Non-Diegetic Music Treatments (part 2)
MID SEMESTER BREAK
Week 9 – Non-Diegetic Music Treatments (part 3)
Week 10 – Mixing and final production
Week 11 – Where Next: Bridging film, interactive media art and VR.
Week 12 – Student Presentations .
Specific Course RequirementsEMU 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/
Access and use of EMU is based upon the following: 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 assessment 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, they will not be permitted to continue the course and won’t be provided access or permission to use any of the EMU facilities.
Users agree to and sign the EMU User Agreement (EUA). Users found in breach of the EUA will automatically have their access and booking privileges suspended. An initial breach will result in a 4- week suspension. Any subsequent breach will result in suspension until the start of the next academic year. Information is available on the EMU website: https://www.emu.adelaide.edu.au/intranet/emu_guide/
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.
Small Group Discovery ExperienceN/A
The University's policy on Assessment for Coursework Programs is based on the following four principles:
- Assessment must encourage and reinforce learning.
- Assessment must enable robust and fair judgements about student performance.
- Assessment practices must be fair and equitable to students and give them the opportunity to demonstrate what they have learned.
- Assessment must maintain academic standards.
Summative Assessment Summary Name Type Due Weighting (%) Learning Objectives Paper Summative Week 13 35% 1, 3 Portfolio Summative Ongoing across
30% 1, 2, 3 Creative Project Summative 4pm, Tuesday Week 14 35% 1, 2, 3
Formative Assessment: Tutorials will contain embedded formative assessment tasks that may include quizzes, student presentations, in-class exercises and homework that will enable students to engage with the practical and theoretical concepts presented in order to complete their summative assessments.
Assessment Related RequirementsExpectation & Penalty
As per Conservatorium policy, active and positive participation in 100% of classes is expected. A minimum of 75% of classes must be attended. Failure to attend 75% of classes may result in the student failing the course. Arrival after the scheduled starting time or departure before the scheduled finishing time may, at the lecturer or Co-ordinator’s discretion, be regarded as an absence.
The Conservatorium recognises that extenuating circumstances may occasionally affect a student’s ability to participate in a rehearsal, workshop, class, lecture, tutorial or performance. Please discuss directly with the Course Co-ordinator via email.
Students will produce an essay exploring approaches to sound design in the horror movie genre. The essay will explore the roots of horror in the silent era, through to contemporary films, and the impact approaches to sound in horror movies have had on the broader field of sound design. This assessment is due at 4pm, Tuesday week 13.
Minor assessment tasks will be set across the semester to support the creation of the major project. The due dates for these tasks are TBA by the lecturer during the semester through the workshop. Most tasks will be partially completed in the workshop and then completed in the student’s own time.
Students will create the sound design for a segment of a film, with all students segments being combined at the end of the semester to create a complete feature film soundtrack. Each student’s segment will be between 5 and 7 minutes duration. Segments of the project will be due in weeks 7 and 12, with a final submission of the completed and polished project during Week 14.
SubmissionAssessments 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 sent to students via MyUni.
Assignments which are submitted after the due date and time will incur a 2% penalty (from the assignment total of 100%) per day (24 hour period) for a maximum of 7 days (weekend days included). After this time the assignment will not be marked for assessment or feedback. Note – this does not apply to assessments where the assessment is conducted at a fixed time and location, such as an exam, practical test, performance or presentation.
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.
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.
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Policies & Guidelines
This section contains links to relevant assessment-related policies and guidelines - all university policies.
- Academic Credit Arrangement Policy
- Academic Honesty Policy
- Academic Progress by Coursework Students Policy
- Assessment for Coursework Programs
- Copyright Compliance Policy
- Coursework Academic Programs Policy
- Elder Conservatorium of Music Noise Management Plan
- Intellectual Property Policy
- IT Acceptable Use and Security Policy
- Modified Arrangements for Coursework Assessment
- Student Experience of Learning and Teaching Policy
- Student Grievance Resolution Process
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