Music, Sound and the Moving Image offers a dynamic introduction into composition for the moving image. It covers the main aspects of sound including ADR, Foley, and Sound Design, as well as spotting sound and music for film work. Students will record, mix and produce sounds and music as part of a unified whole that allows them to be a one stop shop for sound and music in moving image practice.
Learning Outcomes
Upon successful completion, students will have the knowledge and skills to:
Upon successful completion of this course, students will have the knowledge and skills to:- Compose musical scores to selected short films with critically informed practice and musical reflection;
- Compose in response to external stimuli, temporary music tracks, and current aesthetic models;
- Demonstrate a theoretical and practical understanding of the recording and placement of both Foley and Dialogue Replacement in film; and
- Communicate an awareness of your own compositional practice, including in relation to a critique of the writing and artistic work of others in the field of current moving image practice and aesthetics.
Research-Led Teaching
This course responds to current artistic and industry practices, which sets to chart a series of best practice methods for the combination of new screen sound and composition alongside discursive exegesis.
Required Resources
Resources, including weekly readings, will be made available via the course website. Students are encouraged to attend as many film screenings as possible to build up a lexicon of screen practice.
Recommended Resources
Online Resources:
Heavyocity Gravity and Damage Tutorials
Programing Orchestral Sample Libraries
Junkie XL Film Scoring Tutorials
- Complete Guide to Film Scoring (Berklee Guide) – Richard Davis guides you through the entire film music industry from preparing scores, contracts, fees, royalties, timeframes – its a great introduction to the film music industry.
- Advanced Techniques for Film Scoring (Book and CD) – Although it has some slightly out dated information on equipment and production techniques, this book still has some great information on advanced compositional techniques along with some written examples.
- On the Track: A Guide to Contemporary Film Scoring – Although fairly expensive, this book is great. Full of helpful information about orchestration, timing, rhythm, harmony, and how to create your own sound for a movie. Also contains over 100 great interviews.
- The Reel World: Scoring For Pictures-Updated And Revised Edition (Music Pro Guides) – Again, this is a great book outlining the overall industry, including how to create relationships with others, how to do a spotting session, how to setup your studio etc. Plenty of great information in here.
Staff Feedback
Students will be given feedback in the following forms in this course:
Verbal feedback will be provided during seminars on the weekly topics. Formal written feedback will be provided following the completion of assessments. Informal feedback, via consultation with the Course Convenor, is available throughout the semester. In summary:
- Written comments
- Feedback to the entire class
- Verbal comments, in office hours/meetings Student Feedback
Student Feedback
ANU is committed to the demonstration of educational excellence and regularly seeks feedback from students. Students are encouraged to offer feedback directly to their Course Convener or through their College and Course representatives (if applicable). The feedback given in these surveys is anonymous and provides the Colleges, University Education Committee and Academic Board with opportunities to recognise excellent teaching, and opportunities for improvement. The Surveys and Evaluation website provides more information on student surveys at ANU and reports on the feedback provided on ANU courses.
Class Schedule
| Week/Session | Summary of Activities | Assessment |
|---|---|---|
| 1 | Lecture 1: Logic Basics and an introduction to sound design composition using Heavyocity Gravity software. Film Score Analysis: The Conjuring part 1 | Tutorial Participation Composing with Logic and Gravity Begin Horror Cue Practical Assessment 1 |
| 2 | Lecture 2: Composition with rhythmic textures and advanced motion features of Heavyocity Gravity. Textural composition using string effects with Spitfire Albion One software. Film Score Analysis: The Conjuring part 2 | Tutorial Participation Composing with Logic and Gravity Importing video to Logic Continue Horror Cue Practical Assessment 1 |
| 3 | Lecture 3: Introduction to software synths for pads and motion using UHE Zebra. Film Score Analysis: Unstoppable part 1 | Tutorial Participation Composing and programing with Zebra Begin Thriller Cue Practical Assessment 2 Assessment 1 is due |
| 4 | Lecture 4: Composition with rhythmic ostinato and percussion programing using Heavyocity Damage software. Film Score Analysis: Unstoppable part 2 | Tutorial Participation Composing and drum programming with Damage Continue Thriller Cue Practical Assessment 2 |
| 5 | Lecture 5: Composition with orchestral string sound libraries using Spitfire Albion One. Film Score Analysis: Transformers: Dark of the Moon part 1 | Tutorial Participation Composing with Albion One Strings Begin Trailer Cue Practical Assessment 3 Assessment 2 is due |
| 6 | Lecture 6: Composition with orchestral brass sound libraries using Spitfire Albion One. Film Score Analysis: Transformers: Dark of the Moon part 2 | Tutorial Participation Composing with Albion One Strings and Brass Continue Trailer Cue Practical Assessment 3 |
| 7 | Lecture 7: Music and the larger sphere of sound 1: ADR. Record with large and small diaphragm condensers, then dynamic mic. Signal flow for sound engineers Guest lecturer: Matt Barnes | Tutorial Participation Foley and ADR recording Begin Foley and Sound Design Practical Assessment 4 Assessment 3 is due |
| 8 | Lecture 8: Music and the larger sphere of sound 2: Foley. ‘Fake’ sounds to represent real sounds. Record Foley in mono and stereo. Guest lecturer Andrew Mooney. | Tutorial Participation Foley and ADR recording Continue Foley and Sound Design Practical Assessment 4 |
| 9 | Lecture 9: Music and the larger sphere of sound 3: recording with field recorders for foley and ambience. Guest lecturer Alec Hunter. | Tutorial Participation Field recording Continue Foley and Sound Design Practical Assessment 4 |
| 10 | Lecture 10: Dramatic scoring, the basics of melody writing and the composition of harmonic patterns. Advanced sample library composition using Spitfire Albion 1. Film Score Analysis: The Da Vinci Code part 1 | Tutorial Participation Orchestral Composition with Albion One Begin Final Practical Assessment Assessment 4 is due |
| 11 | Lecture 11: Dramatic scoring and midi orchestration. Advanced sample library composition using Spitfire Albion 1. Film Score Analysis: The Da Vinci Code part 1 | Tutorial Participation Orchestral Composition with Albion One Continue Final Practical Assessment |
| 12 | Lecture 12: Sound engines and mixing for video games. Unity as a platform for game sound, solving sound problems in game engines through audio middle ware. Guest Lecture: Alec Hunter | Tutorial Participation Orchestral Composition with Albion One Continue Final Practical Assessment |
Assessment Summary
| Assessment task | Value | Due Date | Return of assessment | Learning Outcomes |
|---|---|---|---|---|
| Participation | 10 % | 10/06/2019 | 10/06/2019 | 1-4 |
| Practical Assessment 1: Horror Cue Scoring | 10 % | 13/03/2019 | 20/03/2019 | 1,2,4 |
| Practical Assessment 2: Thriller Cue Scoring | 10 % | 27/03/2019 | 03/04/2019 | 1,2,4 |
| Practical Assessment 3: Trailer Cue Scoring | 10 % | 24/04/2019 | 01/05/2019 | 1,2,4 |
| Practical Assessment 4: Foley and Sound Design Project | 10 % | 15/05/2019 | 22/05/2019 | 1,2,4 |
| Final Assessment 1: Short film with a significant new score and soundstage. | 40 % | 10/06/2019 | 24/06/2019 | 1-4 |
| Exegesis / Pitch | 10 % | 10/06/2019 | 24/06/2019 | 1,3,4 |
* If the Due Date and Return of Assessment date are blank, see the Assessment Tab for specific Assessment Task details
Policies
ANU has educational policies, procedures and guidelines, which are designed to ensure that staff and students are aware of the University’s academic standards, and implement them. Students are expected to have read the Academic Misconduct Rule before the commencement of their course. Other key policies and guidelines include:
- Student Assessment (Coursework) Policy and Procedure
- Special Assessment Consideration Policy and General Information
- Student Surveys and Evaluations
- Deferred Examinations
- Student Complaint Resolution Policy and Procedure
Assessment Requirements
The ANU is using Turnitin to enhance student citation and referencing techniques, and to assess assignment submissions as a component of the University's approach to managing Academic Integrity. For additional information regarding Turnitin please visit the ANU Online website. Students may choose not to submit assessment items through Turnitin. In this instance you will be required to submit, alongside the assessment item itself, hard copies of all references included in the assessment item.
Moderation of Assessment
Marks that are allocated during Semester are to be considered provisional until formalised by the College examiners meeting at the end of each Semester. If appropriate, some moderation of marks might be applied prior to final results being released.
Assessment Task 1
Learning Outcomes: 1-4
Participation
Participation is required at tutorials and lectures and each student is obliged to be diligent in observing ANU emails and any announcements made on the Wattle site.
Working under the supervision of the lecturer in the collation and composition of selected tasks that relate to the lecture topics, and assessment items. Note that these are listed in the Course Schedule, in the Tutorial column. This also includes a tutorial presentation of the music being written for the final assessment which will be played to the class for peer feedback and review in week 12.
Assessment Task 2
Learning Outcomes: 1,2,4
Practical Assessment 1: Horror Cue Scoring
Length: Approximately 2 minutes duration
Value: 10%
Presentation requirements: QuickTime or MP4 bounce of the film.
Due: Wednesday March 13 12:01 am
Estimated return date: March 20
Details of task
The students may select one horror cue from the folder and compose a musical score which corresponds to the events in the cue. All composition should be done in Logic. The lecturer will give feedback in the tutorial before submission.
1. Interpret the movie and compose music for the film.
2. The soundtrack must include: hits, pads, risers and stings from Heavyocity Gravity
3. The soundtrack may or may not include String EFX from Spitfire Albion One Library
Assessment criteria:
[80] Demonstrated ability to compose music which create the appropriate psychological and emotional response to the film.
[20] The soundtrack includes hits, pads, risers and stings
Assessment: Rubric
N [0-49]
Work which is incomplete or displays an inadequate understanding of the subject matter or an inadequate grasp of relevant skills.
P [50-59]
Work of satisfactory quality, which displays an adequate understanding of most of the subject matter and a sufficient grasp of relevant skills.
CR [60-69]
Work of good quality, which displays a good understanding of the subject matter and a sound grasp of relevant skills
D [70-79]
Work of superior quality, which demonstrates a thorough knowledge and understanding of the subject matter, proficiency in relevant skills, and analytical and conceptual ability of a high order.
HD [80-100] Work of exceptional quality, which demonstrates comprehensive understanding of the subject matter, mastery of relevant skills, sophisticated or original critical and conceptual analysis, and outstanding quality in clarity, precision and presentation of work.
Assessment Task 3
Learning Outcomes: 1,2,4
Practical Assessment 2: Thriller Cue Scoring
Length: Approximately 2 minutes duration
Value: 10%
Presentation requirements: QuickTime or MP4 bounce of the film.
Due: Wednesday March 27 12:01 am
Estimated return date: April 3
Details of task
The students may select one thriller cue from the folder and compose a musical score which corresponds to the events in the cue. All composition should be done in Logic. The lecturer will give feedback in the tutorial before submission.
1. Interpret the movie and compose music for the film.
2. The soundtrack must include: hits, pads, risers and percussion loops
3. The soundtrack must include the use of Heavyocity Gravity, Damage and UHE Zebra.
Assessment criteria:
[80] Demonstrated ability to compose music which create the appropriate psychological and emotional response to the film.
[20] The soundtrack includes hits, pads, risers and percussion loops
Assessment: Rubric
N [0-49]
Work which is incomplete or displays an inadequate understanding of the subject matter or an inadequate grasp of relevant skills.
P [50-59]
Work of satisfactory quality, which displays an adequate understanding of most of the subject matter and a sufficient grasp of relevant skills.
CR [60-69]
Work of good quality, which displays a good understanding of the subject matter and a sound grasp of relevant skills
D [70-79]
Work of superior quality, which demonstrates a thorough knowledge and understanding of the subject matter, proficiency in relevant skills, and analytical and conceptual ability of a high order.
HD [80-100] Work of exceptional quality, which demonstrates comprehensive understanding of the subject matter, mastery of relevant skills, sophisticated or original critical and conceptual analysis, and outstanding quality in clarity, precision and presentation of work.
Assessment Task 4
Learning Outcomes: 1,2,4
Practical Assessment 3: Trailer Cue Scoring
Length: Approximately 2 minutes duration
Value: 10%
Presentation requirements: QuickTime or MP4 bounce of the film.
Due: Wednesday April 24 12:01 am
Estimated return date: May 1
Details of task
The students may select one trailer cue from the folder and compose a musical score which corresponds to the events in the cue. All composition should be done in Logic. The lecturer will give feedback in the tutorial before submission.
1. Interpret the movie and compose music for the film.
2. The soundtrack must include: hits, pads, risers, percussion loops as well as string rhythmic ostinato.
3. The soundtrack must include the use of Heavyocity Gravity, Damage, UHE Zebra and Spitfire Albion One.
Assessment criteria:
[80] Demonstrated ability to compose music which create the appropriate psychological and emotional response to the film.
[20] The soundtrack includes hits, pads, risers and percussion loops
Assessment: Rubric
N [0-49]
Work which is incomplete or displays an inadequate understanding of the subject matter or an inadequate grasp of relevant skills.
P [50-59]
Work of satisfactory quality, which displays an adequate understanding of most of the subject matter and a sufficient grasp of relevant skills.
CR [60-69]
Work of good quality, which displays a good understanding of the subject matter and a sound grasp of relevant skills
D [70-79]
Work of superior quality, which demonstrates a thorough knowledge and understanding of the subject matter, proficiency in relevant skills, and analytical and conceptual ability of a high order.
HD [80-100] Work of exceptional quality, which demonstrates comprehensive understanding of the subject matter, mastery of relevant skills, sophisticated or original critical and conceptual analysis, and outstanding quality in clarity, precision and presentation of work.
Assessment Task 5
Learning Outcomes: 1,2,4
Practical Assessment 4: Foley and Sound Design Project
Length: Approximately 2 minutes duration
Value: 10%
Presentation requirements: QuickTime or MP4 bounce of the film.
Due: Wednesday April 24 12:01 am
Estimated return date: May 1
Details of task
The students may select one trailer cue from the folder and compose a musical score which corresponds to the events in the cue. All composition should be done in Logic. The lecturer will give feedback in the tutorial before submission.
1. Interpret the movie and create sounds for the film without music
2. The sound design must include: student recorded foley and field recording
3. The project may include ADR and sounds from effects libraries.
4. The project may also include music.
Assessment criteria:
[80] Demonstrated ability to use sound design to create the appropriate psychological and emotional response to the film.
[20] The soundtrack includes student foley and field recordings
Assessment: Rubric
N [0-49]
Work which is incomplete or displays an inadequate understanding of the subject matter or an inadequate grasp of relevant skills.
P [50-59]
Work of satisfactory quality, which displays an adequate understanding of most of the subject matter and a sufficient grasp of relevant skills.
CR [60-69]
Work of good quality, which displays a good understanding of the subject matter and a sound grasp of relevant skills
D [70-79]
Work of superior quality, which demonstrates a thorough knowledge and understanding of the subject matter, proficiency in relevant skills, and analytical and conceptual ability of a high order.
HD [80-100] Work of exceptional quality, which demonstrates comprehensive understanding of the subject matter, mastery of relevant skills, sophisticated or original critical and conceptual analysis, and outstanding quality in clarity, precision and presentation of work.
Assessment Task 6
Learning Outcomes: 1-4
Final Assessment 1: Short film with a significant new score and soundstage.
Length: 3-5 minutes duration
Value: 40%
Presentation requirements: QuickTime or MP4 bounce of the film
Due: Monday June 10th, 12:01 am.
Estimated return date: June 24
Details of task
The student will select a short film and write a new score and soundstage for it. The emphasis is on sound and compositional technique, workflow and aesthetics. The student should discuss both their scoring and sound framework with the lecturer prior to proceeding.
1. Write out a cue sheet for the film that includes ADR, Foley, Sound Design and Music.
2. Record the dialogue.
3. Utilise or record Foley sounds. At least 2 of the sounds must be recorded by you.
4. Utilise or record abstract sound design. At least one cue must be recorded by you.
5. Compose music cues.
Assessment criteria:
[40] Ability to respond musically to the dramaturgy of the selected film.
[40] Ability to respond sonically to the dramaturgy of the selected film.
[20] Quality of the recording, mixing and mastering.
Assessment: Rubric
N [0-49]
Work which is incomplete or displays an inadequate understanding of the subject matter or an inadequate grasp of relevant skills.
P [50-59]
Work of satisfactory quality, which displays an adequate understanding of most of the subject matter and a sufficient grasp of relevant skills.
CR [60-69]
Work of good quality, which displays a good understanding of the subject matter and a sound grasp of relevant skills.
D [70-79]
Work of superior quality, which demonstrates a thorough knowledge and understanding of the subject matter, proficiency in relevant skills, and analytical and conceptual ability of a high order.
HD [80-100] Work of exceptional quality, which demonstrates comprehensive understanding of the subject matter, mastery of relevant skills, sophisticated or original critical and conceptual analysis, and outstanding quality in clarity, precision and presentation of work.
Assessment Task 7
Learning Outcomes: 1,3,4
Exegesis / Pitch
Word limit (where applicable): 500-800 words.
Value: 10%
Presentation requirements: Written document
Due date: 10 June 2019
Estimated return date: June 24 2019
Details of task
In this task the student is to imagine that they are writing a document to accompany the film score outlined in the previous task. The exegesis / pitch will make the case for musical choices in scoring the film. It will include a statement of intent, the concepts employed, as well as a brief description of process, and what makes this demo a compelling choice for the producer and director.
Assessment criteria:
[25] Ability to make a strong case in favour of the composed music.
[25] Ability to respond to the aesthetic and technical choices of the score.
[25] Sense of context in relating this work to established film scores and processes.
[25] Quality of the written expression and attribution of ideas and concepts.
Assessment: Rubric
N [0-49]
Work which is incomplete or displays an inadequate understanding of the subject matter or an inadequate grasp of relevant skills.
P [50-59]
Work of satisfactory quality, which displays an adequate understanding of most of the subject matter and a sufficient grasp of relevant skills.
CR [60-69]
Work of good quality, which displays a good understanding of the subject matter and a sound grasp of relevant skills.
D [70-79]
Work of superior quality, which demonstrates a thorough knowledge and understanding of the subject matter, proficiency in relevant skills, and analytical and conceptual ability of a high order.
HD [80-100] Work of exceptional quality, which demonstrates comprehensive understanding of the subject matter, mastery of relevant skills, sophisticated or original critical and conceptual analysis, and outstanding quality in clarity, precision and presentation of work.
Academic Integrity
Academic integrity is a core part of our culture as a community of scholars. At its heart, academic integrity is about behaving ethically. This means that all members of the community commit to honest and responsible scholarly practice and to upholding these values with respect and fairness. The Australian National University commits to embedding the values of academic integrity in our teaching and learning. We ensure that all members of our community understand how to engage in academic work in ways that are consistent with, and actively support academic integrity. The ANU expects staff and students to uphold high standards of academic integrity and act ethically and honestly, to ensure the quality and value of the qualification that you will graduate with. The University has policies and procedures in place to promote academic integrity and manage academic misconduct. Visit the following Academic honesty & plagiarism website for more information about academic integrity and what the ANU considers academic misconduct. The ANU offers a number of services to assist students with their assignments, examinations, and other learning activities. The Academic Skills and Learning Centre offers a number of workshops and seminars that you may find useful for your studies.
Online Submission
You will be required to electronically sign a declaration as part of the submission of your assignment. Please keep a copy of the assignment for your records. Unless an exemption has been approved by the Associate Dean (Education) as submission must be through Turnitin.
Hardcopy Submission
For some forms of assessment (hand written assignments, art works, laboratory notes, etc.) hard copy submission is appropriate when approved by the Associate Dean (Education). Hard copy submissions must utilise the Assignment Cover Sheet. Please keep a copy of tasks completed for your records.
Late Submission
Late submission of assessment tasks without an extension are penalised at the rate of 5% of the possible marks available per working day or part thereof. Late submission of assessment tasks is not accepted after 10 working days after the due date, or on or after the date specified in the course outline for the return of the assessment item. Late submission is not accepted for take-home examinations.
Referencing Requirements
Accepted academic practice for referencing sources that you use in presentations can be found via the links on the Wattle site, under the file named “ANU and College Policies, Program Information, Student Support Services and Assessment”. Alternatively, you can seek help through the Students Learning Development website.
Extensions and Penalties
Extensions and late submission of assessment pieces are covered by the Student Assessment (Coursework) Policy and Procedure. The Course Convener may grant extensions for assessment pieces that are not examinations or take-home examinations. If you need an extension, you must request an extension in writing on or before the due date. If you have documented and appropriate medical evidence that demonstrates you were not able to request an extension on or before the due date, you may be able to request it after the due date.
Privacy Notice
The ANU has made a number of third party, online, databases available for students to use. Use of each online database is conditional on student end users first agreeing to the database licensor’s terms of service and/or privacy policy. Students should read these carefully. In some cases student end users will be required to register an account with the database licensor and submit personal information, including their: first name; last name; ANU email address; and other information.In cases where student end users are asked to submit ‘content’ to a database, such as an assignment or short answers, the database licensor may only use the student’s ‘content’ in accordance with the terms of service – including any (copyright) licence the student grants to the database licensor. Any personal information or content a student submits may be stored by the licensor, potentially offshore, and will be used to process the database service in accordance with the licensors terms of service and/or privacy policy.
If any student chooses not to agree to the database licensor’s terms of service or privacy policy, the student will not be able to access and use the database. In these circumstances students should contact their lecturer to enquire about alternative arrangements that are available.
Distribution of grades policy
Academic Quality Assurance Committee monitors the performance of students, including attrition, further study and employment rates and grade distribution, and College reports on quality assurance processes for assessment activities, including alignment with national and international disciplinary and interdisciplinary standards, as well as qualification type learning outcomes.
Since first semester 1994, ANU uses a grading scale for all courses. This grading scale is used by all academic areas of the University.
Support for students
The University offers students support through several different services. You may contact the services listed below directly or seek advice from your Course Convener, Student Administrators, or your College and Course representatives (if applicable).
- ANU Health, safety & wellbeing for medical services, counselling, mental health and spiritual support
- ANU Diversity and inclusion for students with a disability or ongoing or chronic illness
- ANU Dean of Students for confidential, impartial advice and help to resolve problems between students and the academic or administrative areas of the University
- ANU Academic Skills and Learning Centre supports you make your own decisions about how you learn and manage your workload.
- ANU Counselling Centre promotes, supports and enhances mental health and wellbeing within the University student community.
- ANUSA supports and represents undergraduate and ANU College students
- PARSA supports and represents postgraduate and research students
Convener
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Prof Kenneth Lampl
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Instructor
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Prof Kenneth Lampl
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