week 02




  • Monitor attendance;
  • Have you finished reading the assignment page where we finished last week, 'For extra points'?
  • Have you seen last year's Showreel?
  • Have you managed to download the Assignment Material?
  • Have you checked the reading material in last week's notes?
  • Any questions concerning what we talked about last week?


  • What experience have you got with music for the moving image?
  • What compositional experience have you got (music theory)?
  • What technical experience have you got (studio, DAW)?


  • Have you read the poems?
  • Have you got ideas for composing?

Warm Up Game - Imaginary Soundscapes 2016

Try to match the haikus to a composition. Bandcamp player here.

My Life;-
How much more of it remains?
The night is brief.

Smoothed by seas
A nearly round rock
Points homeward

Tremble, oh my gravemound,
in time my cries will be
only this autumn wind

Nude Beach
Nothing New
Under The Sun

The Depths, Swelling Green
Leviathan Walks, Waves Break
Cold Sleet, it is here.

The wind of war
Blowing across my face
The thunder roaring loudly

Moves silently through the deep -
Five knots to nowhere.

Key: tizennyolc, nyolc, tíz, tizenhárom, kilenc, öt, kettő (in order).

  • Release 2016 needs mastering, artwork, physical copy;
  • Release 2017 - your work (?)

Possible workflow for A1:


  • So what is an imaginary soundscape? How can we compose one? Let's the terminology page.

  • Read the poems, choose one.
  • Close your eyes and imagine the happenings, pictures, movements. There might be animals, humans, machines, nature, synthetic sounds, abstract sounds, conversations, real environments... Hear their sound.
  • Capture the emotional content, rhythm, pace, form.
  • Use a pen and paper, draw a picture or a map. Imagine moving inside your new world, listen.
  • Think about the relationship of your objects, compare them to each other, find differences and similarities in the way they look, feel, sound.
  • Make sound recordings of voice, traditional instruments, synthesise sounds, use sound libraries** as well as DSP (Digital Signal Processing) e.g. filtering, panning, reverb, delay... to create a palette of objects, the sound, the building blocks.
  • Analyse the waveform of a poems sound recording. There might be a picture in there:


  • Organise these objects into a composition so that it has a flow, where the listener can immerse in a journey inside your Imaginary Soundscape. In other words, create a narrative, a story.
  • Use detailed musical expressions, nuances, to guide the listener. Incorporate music theory if you'd like.
  • Think about space, acoustics, the movement of the listener vs. movement of listener's focus. What is the difference?

Any other ideas?

** Make sure it is copyright cleared.

Group Work (15min)

Please do some brainstorming in groups of 4~5.

Individual Work

Please start working on your A1 individually on your workstation.


  • Schafer, R. M., 1974. The new soundscape. England Universal. Ch.1. Yes, but is it music? Digitalised version here. // This writing should encourage you to think of all sounds as potential building blocks for your composition;

  • Copland, A., 2002. What to Listen for in Music. Signet Classic. Ch. 17. Film Music. // This chapter gives you a good introduction to film music;

  • Chion, M,. 1994. Audio-Vision, Sound on Screen, Columbia University Press. Foreword by Walter Murch. //This foreword will give you more details on how film music has evolved;

"After silence, that which comes nearest to expressing the inexpressible is music." ~ Aldous Huxley