Postgraduate Course: Sound Design Media (Online Distance Learning) (MUSI11062)
Course Outline
| School | Edinburgh College of Art |
College | College of Humanities and Social Science |
| Credit level (Normal year taken) | SCQF Level 11 (Postgraduate) |
| Course type | Online Distance Learning |
Availability | Available to all students |
| SCQF Credits | 20 |
ECTS Credits | 10 |
| Summary | In this course students will become acquainted with the technologies that are used in digital sound design. Of particular emphasis will be the possibilities of sound production in the recording studio and editing in the digital domain. |
| Course description |
This course will be workshop based and hands on in its teaching approach.
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Entry Requirements (not applicable to Visiting Students)
| Pre-requisites |
|
Co-requisites | |
| Prohibited Combinations | |
Other requirements | None |
Information for Visiting Students
| Pre-requisites | None |
| High Demand Course? |
Yes |
Course Delivery Information
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| Academic year 2015/16, Available to all students (SV1)
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Quota: None |
| Course Start |
Semester 1 |
Timetable |
Timetable |
| Learning and Teaching activities (Further Info) |
Total Hours:
200
(
Lecture Hours 24,
Seminar/Tutorial Hours 12,
Supervised Practical/Workshop/Studio Hours 3,
Online Activities 12,
Feedback/Feedforward Hours 1,
Programme Level Learning and Teaching Hours 4,
Directed Learning and Independent Learning Hours
144 )
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| Assessment (Further Info) |
Written Exam
0 %,
Coursework
100 %,
Practical Exam
0 %
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| Additional Information (Assessment) |
Two projects, each worth 50%. Project 1: Develop a library of sounds recorded in the studio environment, implementing microphone technique and editing skills. Use of this library in a creative sound design context.
Project 2: Using digital audio manipulation techniques develop a parallel library of digitally altered sounds by modifying the sound library created in project 1. Use of your entire library and the libraries of others in a creative sound design context. |
| Feedback |
Formal feedback is provided in the assessment of each project. Feedback for Project 1 is made available in good time for you to apply any suggestions to your work for Project 2. Additionally, informal feedback from tutors and peers is available through tutorials and crit sessions. |
| No Exam Information |
Learning Outcomes
On completion of this course, the student will be able to:
- Working with professional sound design software tools.
- Experiencing of recording sound in a controlled recording environment.
- Working in a collaborative context of group review and critique.
- Engaging in a creative task within tightly constrained bounds and to present the outcome to conform to precise specifications.
- Interpreting and applying a set of requirements pertaining to a sound design task
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Reading List
1. Chadabe, J., Electric sound: the past and promise of electronic music. 1997, Upper Saddle River, N.J.: Prentice Hall. xiv, 370 p.
2. Chion, M., C. Gorbman, and W. Murch, Audio-vision: sound on screen. 1994, New York: Columbia University Press. xxvii, 239 p.
3. Cook, P.R., Music, cognition, and computerized sound: an introduction to psychoacoustics. 1999, Cambridge, Mass.: MIT Press. xi, 372 p.
4. Gibson, B., The AudioPro home recording course: a comprehensive multimedia audio recording text. Mix pro audio series. 1996, Emeryville, CA: MixBooks.
5. Gibson, B., Sound Advice on Compressors, Limiters, Expanders and Gates. 2002, Vallejo, CALIFORNIA: Pro-Audio Press. 79.
6. Gibson, B., Sound Advice on Equalizers, Reverbs and Delays. 2002, Vallejo: California. 77.
7. Helmholtz, H.v., On the sensations of tone as a physiological basis for the theory of music with a new introd. (1954) by Henry Margenau. 2. english ed. Dover classics of science and mathematics. 1954, New York: Dover Publications. xix, 576 s.
8. Howard, D.M. and J.A.S. Angus, Acoustics and psychoacoustics. 2nd ed. Music technology series. 2001, Oxford; Boston: Focal Press. x, 385 p.
9. Miranda, E.R., Composing music with computers. 1st ed. Music technology series. 2001, Oxford; Boston: Focal Press. xviii, 238 p.
10. Miranda, E.R., Computer sound synthesis for the electronic musician. 1998, Focal Press: Oxford, [England]; Boston. p. xi, 208 p.
11. Miranda, E.R. and E.R. Miranda, Computer sound design: synthesis techniques and programming. 2nd ed. 2002, Boston, Mass.: Focal Press.
12. Owsinski, B., The Mixing Engineer's Handbook. 1999: Mix Books, California, USA.
13. Rumsey, F. and T. McCormick, Sound and recording: an introduction. 3rd ed. Music technology series. 1997, Oxford; Boston: Focal Press. 384 p.
14. Schafer, R.M., The soundscape: our sonic environment and the tuning of the world. 1994, Rochester, Vt.: Destiny Books. xii,301p.
15. Sider, L., D. Freeman, and J. Sider, Soundscape: the school of sound lectures 1998-2001. 2003, London: Wallflower Press. vii, 242 p.
16. Sonnenschein, D., Sound design: the expressive power of music, voice, and sound effects in cinema. 2001, Studio City, CA: Michael Wiese Productions. xxiii, 245 p.
17. Roads, C., The computer music tutorial. 1995, Cambridge, Mass.: MIT Press. xx, 1234 p. |
Additional Information
| Graduate Attributes and Skills |
Ability to work with professional sound design software tools.
Experience of recording sound in a controlled recording environment.
Ability to work in a collaborative context of group review and critique.
Ability to engage in a creative task within tightly constrained bounds and to present the outcome to conform to precise specifications.
Ability to interpret and apply a set of requirements pertaining to a sound design task. |
| Keywords | Not entered |
Contacts
| Course organiser | Mr Owen Green
Tel:
Email: Owen.Green@ed.ac.uk |
Course secretary | Mrs Lyndsay Hagon
Tel: (0131 6)51 5735
Email: Lyndsay.Hagon@ed.ac.uk |
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