Syllabus

Week 01

Introduction

  • A brief introduction to the module, Canvas, this website, the assignments and to various software and hardware tools available in the classroom.
  • Getting to know your musical backgrounds, technical and compositional skills and expectations of the module.
  • Adding you to the module’s Facebook group as a medium for communication and sharing information.
  • Emphasizing the importance of backing up work. Setting up Dropbox or similar accounts. Tutor to send out invitations.
  • Please check useful online courses in resources on different, DAW, compositions for film and games.
  • Viewing all assignment options. Signing confidentiality form before they download links are given to you.

Reading

  • Schafer, R. M., 1974. The new soundscape. England Universal. Ch.1. Yes, but is it music?
  • Chion, M,. 1994. Audio-Vision, Sound on Screen, Columbia University Press. Foreword by Walter Murch.
  • Copland, A., 2002. What to Listen for in Music. Signet Classic. Ch. 17. Film Music.
  • EARS2 website, Soundscapes.

Week 02

Imagination

  • Examining A1
  • Utilising listening types (Oliveros, Chion, Purves)
  • Drawing a narrative with pen and paper

Week 03

Film Music

  • Short history of film music

Investigating the moving image culture in historical context with examples of silent films, talkies, studio systems and important musical styles in film music.

  • Workflow

Discussion about what clients want and how to meet their expectations.

  • Temptrack (advantages and disadvantages)

  • Examining A2

Students present work in progress for class feedback.


Reading

  • Davis, R., 2010. Complete Guide to Film Scoring. Berklee Press. Ch. I. and II.
  • Karlin, F. and Wright, R., 2004. On the track, Routledge. Ch. IV. Composing.
  • D’Escriván, J., 2007. Electronic music and the moving image. In: N. Collins and J. D’Escriván, ed. 2007. The Cambridge Companion to Electronic Music. Cambridge University Press. Part 2, Ch.9
  • Davis, R., 2010. Complete Guide to Film Scoring. Berklee Press. Ch. 22, 23

Week 04

Game Audio

A brief introduction to game audio. Differences, workflows and generative compositions.

  • 3D Audio Games

Introducing audio games utilising binaural sound engines. Exploration of surround and binaural audio within Logic, Neumann binaural head and in- ear binaural microphone.

  • Examining A3

Students present work in progress for class feedback.


Reading

  • Collins, Karen. Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design. Cambridge: MIT Press, 2008

Week 05

Synaesthesia

  • Examining A4
  • Nature conservation and sound
  • Emotions

Open discussion on the functions of music in films. Identifying emotional responses to different music genres, timbre, rhythm, etc.


Students present work in progress for class feedback.


Week 06

Your progress

Student presentations on the present state of the assignments.

Review and open discussion shall provide valuable information on project’s strength/weaknesses.


Students present work in progress for class feedback.


Week 07

Programming

Exploring hardware/software alternatives to Logic Pro for creating musical expressions with audio.

  • Processing to SuperCollider
  • Max (Jitter)
  • SuperCollider (MIDI and audio) to Logic via JackPilot
  • Example of randomly generated melodies with SuperCollider for a game (Stormbrothers)
  • Brains Eden, Cambridge

Students present work in progress for class feedback.


Reading

Karlin, F. and Wright, R., 2004. On the track, Routledge. Ch. VI. Electronic and Contemporary scoring.

Week 08

Theatre Audio, Career, Guest Talks and Website

  • Introduction to audio for theatre
    -- QLab demo;
  • Guest talks by -- Jan Storgards (Creative and Digital Sector Lead, Reactor),
    -- Shreepali Pater (Storylab)
    -- Todd Hunt (3rd year - composer for game)
    -- Ankit Malik (3rd year - composer/sound designer for Theatre) -- Shan Dossaantos (CMT Alumni)
    -- Will Baker (Isodora)
    -- Startup Lab (explaining freelance work setups)
  • Example of showreel
  • DIY website (TBC)

Week 09-10-11

Tutorials

Reviewing and discussing work in progress with the class or individually if desired.

Students bring their work on USB or connect their laptops to the projector and mixer in a classroom for feedback.

Week 12

Screening

Screening of one or more of your assignments in a cinema setting (Coslett 117 TBC). Consider it as a celebration of your hard work.


Due to different student experience and expectations, this outline can be subject to change.

Detailed notes for each week will be added gradually to this website.