20 credits at level HE5
Life is not silent, there is the music of the every day; Street noise in a morning, kettles boiling with office chatter in the background are all examples of the soundtrack of life. To take this further film and music video are now using new sounds to create new musical syntax and structures, and consequently, new contexts and paradoxes between situations that motivate resolution by the listener.
This module aims to develop students' understanding and appreciation of the area of Foley production and sound track analysis and aims to further students' knowledge of what constitutes as a soundtrack in the context of the other "areas" of the medium including gesture, dialogs and sound effects all of which contribute to the composite effect of the ‘soundtrack’ as a whole. The module also aims at grounding theoretical considerations into a solid understanding of practical issues of soundtrack design and analysis by allowing students to carry out spectromorphology development ,Foley sound recording and musical soundtrack production and editing tasks.
Foley production techniques
- What Is Foley production
- Foley sound stage creation
- Sound design Techniques
- Recording equipment and microphone selection
- Creation of moving, walking and other effects
-Kinds and Categories of Sound Effects.
- recording effects and (delay, flange, phase Chorus etc
- Recording of effects
The use of common environmental noise method of creating Music
- Introduction to spectrum Analysis
- Frequency spectrum as an approach to sound materials and musical structures which concentrate on the spectrum of available pitches and their shaping over time
Sound track analysis
- Components of a soundtrack (Dialog, Music,Effects,visuals)
- Diagetic Source (in or out of the action)
- Analysis of client requirements for Foley and soundtrack
Software and Technology
- Selective use of professional sound track creation tools
- use of relevant Video and Audio software such as Soundtrack pro, Garage Band, Final Cut Pro and Pro Tools
Formal lectures (20).
Directed reading (10)
Directed research (20)
Practical Recording research (50).
Assignment preparation and implementation (80).
Total of 200 hours
when you have successfully completed this module you will:
to demonstrate that you have achieved the learning outcome you will:
|1.||Develop an understanding of how sound works in Film and video and the process of soundtrack analysis.||
- Discover the elements that go to make up a soundtrack
- Break down the differences between diagetic sound and non diagetic sound.
- Produce an incisive analysis of the soundtrack of a film/music video sequence
- Selectively use technical and creative skills in sound design and audio production for film.
|2.||Communicate and develop Ideas of soundtrack/ Music Video based on interpretation of "Client" requests||
- Demonstrate the ability to use software in the creation of an audio soundtrack
- Investigate and apply technical and creative skills in sound design and audio production.
- Create scenes where sound and image combine
|3.||Create, develop and design Foley effects and a Foley sound stage||
- Examine what Foley sound production is
- Design, record and add Foley Recordings to a film/video clip
- Investigate the equipment used in a Foley production area
- identify areas where Foley effects can be used.
|4.||Use common and environmental sounds as a basis for sound track design.||
- Analyse Spectromorphology in the production of a soundtrack
- Examine and describe what a frequency spectrum consists of through the use of Frequency analysis software .
- Develop music based upon the pitch and frequencies of environment sounds chosen
Your achievement of the learning outcomes for this module will be tested as follows:
|Description||Perform sound track analysis on a number of pre-selected films and videos - defining, with the use of spectromorphology the composite frequencies used||Compose and record in an appropriate format, stylistically appropriate soundtracks including addition of Foley effects for two contrasting film extracts as defined by the "client" and present the output to the group.||Provide a final written analytical on the processes and development on the sound track produced on the presentation.|
There are no prerequisites for this module.
No restrictions apply.
Emmerson, S. (1986) Spectro-morphology and Structuring Processes, in , ed., The Language of Electroacoustic Music pp.61-93 London: Macmillan.
Sonnenschein, David. (2001). Sound Design. Studio City, CA: Michael Wioese Productions.
Gates, Philippa and Rudy, Paul. Spectromorphology Hits Hollywood: Morphology, Objectification and Moral Messages in the Sound Design of ‘Black Hawk Down’ (http://cec.concordia.ca/econtact/8_3/gates_rudy.html)
Yewdall, David L (2007). The Practical Art of Motion Picture Sound. Focal Press (3 edition), ISBN 0-240-80865-7.
Mott, Robert L (1990). Sound Effects: Radio, Tv, and Film. Focal Press,. ISBN 0-240-80029-X.
Hurbis-Cherrier, Mick (2007). Voice and Vision: A Creative Approach to Narrative Film and DV Production. Focal Press, ISBN 0-240-80773-1.
Sternbach, Rick; Michael Okuda (1991). Star Trek: The Next Generation Technical Manual. Pocket Books. ISBN 0-671-70427-3.
Black Hawk Down. Dir. Ridley Scott; Perfs. Josh Hartnett, Ewan McGregor, Tom Sizemore. 2001.
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