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Session: 2022/23
Last modified: 18/05/2022 12:38:00
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Title of Module: Music Film & Sound Aesthetics |
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Code: MUSC10013 |
SCQF Level: 10
(Scottish Credit and Qualifications Framework) |
Credit Points: 20 |
ECTS: 10
(European Credit Transfer Scheme) |
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| School: | School of Business & Creative Industries |
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| Module Co-ordinator: | Iain
Taylor |
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| Summary of Module |
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Students will extend their knowledge and understanding of key concepts from a range of theoretical approaches in cultural, communication and media studies. Students will acquire a critical terminology which can be applied to the study of literature, media and popular culture, and analyse within the fields of literature, media and popular culture with its accent on Film and Music studies. Students will examine historical and current approaches to embedding sound, music and film and will be required to utilise skills from previous modules (or equivalent for progressing level 9 direct entrants) to produce a piece of audio visual material which includes: planning, resource allocation, skills sourcing, recording original dialogue, sounds and music and compiling them into a professional standard artefact to add to their PDP portfolio..
The module is open to technicians as well as non-technicians. Students work in ‘production teams’working towards replacing all soundtrack elements of a given 10 minute film including:Foley, Score, SFX and ADR. Assessment includes the final artifact, a portfolio (making of ) and a personal essay on a composer/sound designe/genrer of their choice.
- Introduction of students to the academic study of film music analysis
- Practical post production techniques
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| Module Delivery Method |
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| Face-To-Face | Blended | Fully Online | HybridC | HybridO | Work-based Learning |
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Face-To-Face
Term used to describe the traditional classroom environment where the students and the lecturer meet synchronously in the same room for the whole provision.
Blended
A mode of delivery of a module or a programme that involves online and face-to-face delivery of learning, teaching and assessment activities, student support and feedback. A programme may be considered “blended” if it includes a combination of face-to-face, online and blended modules. If an online programme has any compulsory face-to-face and campus elements it must be described as blended with clearly articulated delivery information to manage student expectations
Fully Online
Instruction that is solely delivered by web-based or internet-based technologies. This term is used to describe the previously used terms distance learning and e learning.
HybridC
Online with mandatory face-to-face learning on Campus
HybridO
Online with optional face-to-face learning on Campus
Work-based Learning
Learning activities where the main location for the learning experience is in the workplace.
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| Term(s) for Module Delivery |
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(Provided viable student numbers permit).
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| Term 1 | | Term 2 | | Term 3 | |
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| Learning Outcomes: (maximum of 5 statements) |
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On successful completion of this module the student will be able to:
L1.
knowledge that covers and integrates most of the principal areas, features, boundaries, terminology and conventions of film sound and music subject/discipline
L2.
a range of software to create an original underscore, audio soundtrack and Foley to a prescribed piece of film
L3.
Identify and offer professional solutions to professional problems in the field of aesthetic and production audio/visual processes |
| Employability Skills and Personal Development Planning (PDP) Skills |
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| SCQF Headings |
During completion of this module, there will be an opportunity to achieve
core skills in:
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| Knowledge and Understanding (K and U) |
SCQF Level 10.
Students will embark on a detailed analysis from an academic and practical perspective of film sound and music by examining current and historical theories and concepts of approaches to film sound and music .Students will be able to :
Demonstrate and/or work with:
knowledge that covers and integrates most of the principal areas, features, boundaries, terminology and conventions of film sound and music subject/discipline
a critical understanding of the principal theories, concepts and principles behind the ‘reading’ of both audio and visual stimuli. |
| Practice: Applied Knowledge and Understanding |
SCQF Level 10.
Students will use a range of the principal skills of audio post production at a level advanced from pre requisites at level 9.
Practising in a range of professional level contexts in the area of surround sound, sound effect creation and audio visual mixing students will work within timescales and constraints comparable and informed by the business environment |
| Generic Cognitive skills |
SCQF Level 10.
General Cognitive skills are developed both at an administrative/operational and technical production level. Students working in production teams will face professional problems and be expected to offer professional solutions on both aesthetic production and technical issues. |
| Communication, ICT and Numeracy Skills |
SCQF Level 10.
Students, through : workshops and lectures ( guest professionals as well as academic staff ) team tutorials and feedback sessions will be expected to communicate and enquire with peers, senior colleagues and specialists at a professional level.
Through studying historical practices and developments in film sound and music students will develop suitable skills to examine and challenge existing practices as well as apply new methods.
Technical students will use a range of suitable software at an advanced level while non-technical students will develop organisational and administrative skills to reflect the demands of a professional environment at this level and above. |
| Autonomy, Accountability and Working with others |
SCQF Level 10.
Students will be expected to acknowledge good industry practice through organising their initiatives in the form of clear and concise planning thus greatly enhancing their employability status.
Through displaying and taking significant responsibility for cataloguing and crediting all participants and their roles within the project students will greatly enhance their personal development planning by reflecting on their relevant strengths and weaknesses. It is hoped that through doing this that the student will greater appreciate how their transferable skills can best be utilised in a professional as well as academic scenario
Students will develop these skills under guidance in a peer relationship with qualified practitioners |
| Pre-requisites: |
Before undertaking this module the student should have
undertaken the following:
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Module Code:
| Module Title:
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| Other: | or equivalent.(Tech) Experience in complex administrative and management organisational skills at level 9 (non tech) |
| Co-requisites | Module Code:
| Module Title:
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* Indicates that module descriptor is not published.
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| Learning and Teaching |
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| The delivery of the module will consist of lectures, tutorials and a series of intensive group work in a replication of a post-production film team. Teams can consist of technical and non-technical students with a variety of roles including music supervisor, producer, music editor, casting directors and script editors. Students are engaged with professional post-production companies with at least one local site visit. There is an added incentive of a prize and a showing of work in the final showcase. |
Learning Activities
During completion of this module, the learning activities undertaken to
achieve the module learning outcomes are stated below:
| Student Learning Hours
(Normally totalling 200 hours):
(Note: Learning hours include both contact hours and hours spent on other learning activities) |
| Lecture/Core Content Delivery | 12 |
| Tutorial/Synchronous Support Activity | 24 |
| Independent Study | 164 |
| 200
Hours Total
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**Indicative Resources: (eg. Core text, journals, internet
access)
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The following materials form essential underpinning for the module content
and ultimately for the learning outcomes:
Beck, J. and Grajeda, T. (2008) Lowering The Boom: Critical Studies In Film Sound. Chicago: University of Illinois Press.
Cooke, M. (2008) A History of Film Music. Cambridge: Cambridge University Press.
Davis, R (2010) Complete guide to film scoring: the art and business of writing music for movies and TV. London: Berklee Press
Harper, G., et. al (2009). Sound and Music in Film and Visual Media. London: Bloomsbury.
Reay, P (2004) Music in film : soundtracks and synergy Short cuts London: Wallflower
Roads, C. (2015) Composing Electronic Music: A New Aesthetic. Oxford: Oxford Scholarship Online
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(**N.B. Although reading lists should include current publications,
students are advised (particularly for material marked with an asterisk*) to
wait until the start of session for confirmation of the most up-to-date
material)
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| Engagement Requirements |
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In line with the Academic Engagement Procedure, Students are defined as academically engaged if they are regularly engaged with timetabled teaching sessions, course-related learning resources including those in the Library and on the relevant learning platform, and complete assessments and submit these on time. Please refer to the Academic Engagement Procedure at the following link: Academic engagement procedure
Where a module has Professional, Statutory or Regulatory Body requirements these will be listed here:
In line with the Academic Engagement and Attendance Procedure, Students are defined as academically engaged if they are regularly engaged with timetabled teaching sessions, course-related learning resources including those in the Library and on Aula, and complete assessments and submit these on time. Please refer to the Academic Engagement and Attendance Procedure at the following link: Academic engagement and attendance procedure |
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Supplemental Information
| Programme Board | Arts & Media |
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| Assessment Results (Pass/Fail) |
No
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| Subject Panel | Arts & Media |
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| Moderator | Paul McGeechan |
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| External Examiner | B Challis |
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| Accreditation Details | James |
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| Version Number | 3.01 |
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| Assessment: (also refer to Assessment Outcomes Grids below) |
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| Artefact- 50% Students are given a short 10 minute film and asked to replace the Dialogue, Sound effects, Foley and the musical score. |
| Students will accompany the artefact with an electronic portfolio 20% describing the processes involved with reference to how samples/music/ADR were created demonstrating managerial responsibility for the work of themselves and others using a range of resources. |
| Personal essy on a film music composer/sound designer/genre of their choice 30% |
(N.B. (i) Assessment Outcomes Grids for the module
(one for each component) can be found below which clearly demonstrate how the learning outcomes of the module
will be assessed.
(ii) An indicative schedule listing approximate times
within the academic calendar when assessment is likely to feature will be
provided within the Student Handbook.)
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Assessment Outcome Grids (Footnote A.)
Footnotes
A. Referred to within Assessment Section above
B. Identified in the Learning Outcome Section above
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Note(s):
- More than one assessment method can be used to assess individual learning outcomes.
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Schools are responsible for determining student contact hours. Please refer to University Policy on contact hours (extract contained within section 10 of the Module Descriptor guidance note).
This will normally be variable across Schools, dependent on Programmes &/or Professional requirements.
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| Equality and Diversity |
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Aligned with the overall commitment to equality and diversity stated in the Programme Specifications, the module supports equality of opportunity for students from all backgrounds and with different learning needs. Using Moodle, learning materials will be presented electronically in formats that allow flexible access and manipulation of content. The module complies with University regulations and guidance on inclusive learning and teaching practice. Specialist assistive equipment, support provision and adjustment to assessment practice will be made in accordance with UWS policy and regulations. The University’s Equality, Diversity and Human Rights Policy can be accessed at the following link: http://www.uws.ac.uk/equality/
Our partners are fully committed to the principles and practice of inclusiveness and our modules are designed to be accessible to all. Where this module is delivered overseas, local equivalent support for students and appropriate legislation applies.
UWS Equality and Diversity Policy |
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(N.B. Every effort
will be made by the University to accommodate any equality and diversity issues
brought to the attention of the School)
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