Category Archives: Module Descriptors

Advanced Recording

Students choose between this module and the Recording module depending on experience.

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HART – History, Analysis, Repertoire & Theory

Module Aims
To challenge student’s understanding of the foundations of sound and music across several genres and disciplines, allowing greater creative control over generative tangibles.
 
Content Summary
This module will explore key areas related to music and sound, across a number of postgraduate music/sound programmes. It will cover key historical developments with current manifestations. Through analysis, it engender critical appraisal and develop individual technique. This will be underpinned by extensive repertoire studies, within a theoretical framework.
Assessment Criteria
Oral Assessment – 40%
Written Assignment – 30%
Written Assignment – 30%
Reading List
Cunningham, M. (1999) Good Vibrations: History of Record Production, Sanctuary Publishing
Massey, H. (2000), Behind the Glass: Top Record Producers, Backbeat Books
Burgess, R. J. (2005) The Art of Music Production, Omnibus Press7Martin, G. (1995)
All You Need Is Ears, Saint Martin’s Press

 

Sequencing/Synthesis/Sampling

Module Aims
To equip students with relevant technological skills for music and sound generation and organisation, utilising modern music technologies.
 
Content Summary
This module will explore key concepts and technologies appropriate to professional practice in current music and sound industries. It will study organisation (sequencing), sourcing (sampling), and generation (synthesis) of sound and music.
Assessment
Practical assessment 1- 30%
Practical assessment 2 – 30%
Practical assessment 3 – 40%
Reading List
Collins, M. (2009) ProTools 8, Focal Press
Kurasaki, K. (2010) Power Tools for Reason, Music Pro Guides
Nahmani, D. (2007) Apple Pro Training: Logic 8, Peachpit Press

Research Methods and Business

Module Aims
To equip students with relevant research methodologies (including report writing) and a business context understanding for future career development.
Content Summary
This module will examine foundations of research through various methods, in addition to business studies related to both freelance and corporate commercial activity.
Assessment Criteria
Oral Assessment – 40%
Essay 1 – 35%
Essay 2 – 25%

Post Production

Module Aims
To equip students with a relevant set of techniques, both technically and intellectually, to fully engage in the area of sound and music post-production.
Content Summary
Focus is split between theory and application, including developing professional techniques with advanced technology for sound post-production. Context for both commercial and research activity will be studied (including theoretical frameworks) related to sound design, mixing, editing, spotting, voice-over, sound effects generation, and general sound presentation format systems.
Module Aims
To equip students with a relevant set of techniques, both technically and intellectually, to fully engage in the area of sound and music post-production.
Content Summary
Focus is split between theory and application, including developing professional techniques with advanced technology for sound post-production. Context for both commercial and research activity will be studied (including theoretical frameworks) related to sound design, mixing, editing, spotting, voice-over, sound effects generation, and general sound presentation format systems.
Assessment Criteria
Presentation 1 – 40%
Practical assessment 2 – 30%
Practical assessment 3 – 30%
Reading List
Ament, V. T. (2009) The Foley Grail: The Art of Performing Sound for Film, Games, and Animation, Focal Press
Chion, M. (2009) Film: A Sound Art, Columbia University Press
Chion, M. (1994) Audio-Vision : Sound on Screen, Columbia University Press
Sonnenschein, D. (2001) Sound Design: The Expressive Power of Music, Voice, and Sound Effects in Cinema, Michael Wiese Productions
Viers, R. (2008) Sound Effects Bible: How to create and record Hollywood Style Sound Effects, Michael Wiese Productions, 3rd ed.
Weis, B. (1985) Film Sound: Theory and Practice, Columbia University Press

Remixing

Module Aims
To equip students with a relevant set of techniques, both technically and intellectually, to fully engage in the area of remix production.
Content Summary
This module is will study advanced concepts related to remixing, a form of music composition and production prevalent in the music industry. Topics will include the development and application of relevant techniques using modern music technologies, including critical listening, editing, mixing, presentation formats, software and hardware systems, and compositional techniques.
Assessment Criteria
Presentation 1 – 40%
Practical assessment 2 – 25%
Practical assessment 1 – 35%
Reading List
Snoman, R. (2008) Dance Music Manual, Focal Press
Hawkins, E. (2003) Complete Guide to Remixing, Berklee Press Publications
Preve, F. (2006) The Remixer’s Bible, Backbeat Books

MSc Project

Module Aims
This module aims to provide students with an opportunity to engage in a major in-depth research project, allowing exploitation of knowledge from course modules. It will be a comprehensive and advanced project, reaching a publishable or commercially-exploitable level.
Content Summary
As appropriate to each individual student project.
Assessment Criteria
Presentation 1 – 20%
Practical assessment 1 -80%

Recording

Students choose between this module and the Advanced Recording module depending on experience.
Module Aims
Provides students with an advanced overview of recording technologies and techniques, sufficient to enable them to operate as music producers within a recording environment.
 
Content Summary
Contextualisation of sound recording engineering and music production paradigms, technological development, contemporary technologies within a modern recording studio, operational/management and safety issues, pre- and post-recording techniques, ‘front-end’ and ‘back-end’ technologies, multi-session & multi-track techniques, mixing/editing, and delivery systems.
Assessment Criteria
Practical assessment 1 – 25%
Practical assessment 2 – 25%
Practical assessment 3 – 50%
Reading List
Bartlett, B and J Bartlett, Practical recording Techniques, Focal Press 2002 3rd ed.
Borwick, J Sound Recording Practice OUP 1996 4th ed.
Eargle J, The Microphone Book, Focal Press 2001
Huber, D, and RE Runstein Modern Recording Techniques Focal Press 2001 5th ed.
Moylan, W. The Art of Recording: Undertsanding And Crafting The Mix, Focal Press 2002
Rumsey, F and T. McCormick, Sound and Recording: An Introduction, Focal Press 2002 4th ed.