MUSONIC 3820 - Sound Design for Film III
North Terrace Campus - Semester 1 - 2016
General Course Information
Course Code MUSONIC 3820 Course Sound Design for Film III Coordinating Unit Elder Conservatorium of Music Term Semester 1 Level Undergraduate Location/s North Terrace Campus Units 3 Contact Up to 4 hours per week Available for Study Abroad and Exchange Y Incompatible MUSONIC 2820 Restrictions Priority is given to Music degree students but course is available to non-music 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 listenings/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 – 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, and a 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 practical exercises in 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.
Workload Total Hours 1 x 1-hour lecture per week 12 hours per semester 1 x 2-hour workshop per week 24 hours per semester 6 hours creative work and research per week 72 horus per semester 4 hours reading and assignment preparation per week 48 hours per semester TOTAL = 156 HOURS PER SEMESTER
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.
Class 1 – Course Introduction, German Expressionist Cinema and the roots of the Horror Genre
Class 2 – Sound Design Introduction: Audio Post-Production. Storyboarding a creating a sound plan
Class 3 – Major Project Overview & Introduction to Non-Diegetic Musical Treatments
Class 4 – Sound Design (Part 2): Breaking down the shot & considering Cues, Hitpoints and Synchronisation
Class 5 – Foley Art
Class 6 – Designing Sound Effects; Environment and the Sound Scape
Class 7 – Non-Diegetic Music Treatments (part 2)
Class 8 – Non-Diegetic Music Treatments (part 3)
Class 9 – Mixing and final production
Class 10 – Guest Artist
Class 11 – Where Next: Bridging film and interactive media art
Class 12 – New directions in immersive cinema
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.
Name Type Due Weighting Learning Objectives Research Essay Summative Week 13 35% 1, 3 Portfolio Excercises Formative & Summative Ongoing 30% 1, 2, 3 Creative Project Summative Week 14 35% 1, 2, 3
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 will 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. Leave approval forms are available from the Music Office.
The Conservatorium recognises that 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 Hartley Building G05), be approved by the relevant staff member.
Assessment DetailResearch Essay
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 submitted via MyUni; due 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 5 and 11, with a final submission of the completed and polished project at 4pm, Tuesday, 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 usually sent to students via email and/or MyUni.
Where practical, assignments will be submitted digitally via MyUni. Further information, and detailed assessment guides are available under 'Assignments' within the course page on MyUni.
Assignments which 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 – 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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- Reasonable Adjustments to Teaching & Assessment for Students with a Disability Policy
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
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.
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