Units
Creative Studio 3
Unit code: KMB225
Contact hours: 5 per week
Credit points: 12
Information about fees and unit costs
This unit builds on, and extends, the concepts relating to music creation and presentation covered in Creative Studio 1 and 2. It assists students in establishing their identity as an artist and locating their work within a broader field of practice. It will also introduce students to the role of the creative collaborator. The unit will introduce students to strategies for audience engagement, promotion and event curation. In consultation with studio staff, students will formulate a program of work for the semester that allows them to identify and investigate their personal artistic direction. Students will also be introduced to the design and execution of successful music events and presentations.
Availability
| Semester | Available |
|---|---|
| 2013 Semester 1 | Yes |
Sample subject outline - Semester 1 2013
Note: Subject outlines often change before the semester begins. Below is a sample outline.
Rationale
Creative practitioners need to develop and lead projects that define their creative identity and to collaborate with other creative practitioners in their original works. This unit will introduce to you to a broader range of contemporary approaches to content creation and presentation. It will assist you in developing a critical approach to the identification of skill and resource requirements associated with different creative practices. It will develop and consolidate your skills in exploring and presenting ideas with peers in a staff-mentored environment.
Aims
The aim of this unit is to develop creative and technical skills, and to apply these concepts and skills in developing your creative identity.
Objectives
On completion of this unit you should be able to:
1. Display control of appropriate musical or sound design techniques and approaches (both new and established) applicable to your chosen study area.
2. Conceive and develop a collaborative small scale musical or sound design project.
3. Communicate your small scale creative projects to audiences using appropriate presentational methods for various media.
4. Interact constructively with other students in small scale music and sound making activities.
5. Display creativity and leadership in your practice.
6. Display a critical and analytical understanding of contexts within which your creative practice exists.
Content
This unit addresses content such as:
Current approaches to music creation and presentation, technical and critical skill development, rehearsal techniques, and the identification and development of personal artistic directions guided by interactions with staff and visiting professionals.
Approaches to Teaching and Learning
Your learning in this unit will be undertaken through practical workshops, lecture and masterclass presentations from industry practitioners, group critique sessions, as well as through presentations and performances for peers in on-campus locations. You will receive regular feedback from staff and peers throughout the unit.
Assessment
LATE ASSIGNMENTS
An assignment submitted after the due date without an approved extension will not be marked. If you are unable to complete your assignment on time, you should submit on time whatever work you have done.
Faculty Assessment Information
To access complete Creative Industries Faculty Assessment Information please refer to the Blackboard site for this unit.
Grading Scale - You will be awarded a final grade on a 1 to 7 scale
Assessment name:
Professional Plans
Description:
(Formative and Summative) Project proposal.
Relates to objectives:
1, 2
Weight:
10%
Internal or external:
Internal
Group or individual:
Individual
Due date:
Early Semester
Assessment name:
Presentation
Description:
(Formative and Summative) Class Presentations.
Relates to objectives:
1, 2, 3
Weight:
30%
Internal or external:
Internal
Group or individual:
Individual
Due date:
Throughout Semester
Assessment name:
Portfolio
Description:
(Formative and Summative) Folio of works and written report.
Relates to objectives:
1, 2, 3, 4, 5, 6
Weight:
60%
Internal or external:
Internal
Group or individual:
Individual
Due date:
End Semester
Academic Honesty
QUT is committed to maintaining high academic standards to protect the value of its qualifications. To assist you in assuring the academic integrity of your assessment you are encouraged to make use of the support materials and services available to help you consider and check your assessment items. Important information about the university's approach to academic integrity of assessment is on your unit Blackboard site.
A breach of academic integrity is regarded as Student Misconduct and can lead to the imposition of penalties.
Resource materials
Required Text(s):
Readings deemed essential by the teaching staff will be available on the unit Blackboard site under the Course Materials Database.
Required Resources:
No specific resources are required for this unit.
Recommended References:
Burgess, R.J. 2002. The Art of Music Production. London: Omnibus Press.
Bouchard, George. 2001. Intermediate Jazz Improvisation: A Study Guide for Developing Soloists. USA: Jamie Aebersold Jazz,
Carratello, J. 2008. Seth Riggs Singing for the Stars: A complete Program for training your voice. USA: Alfred
Gracyk, T. 1996. Rhythm and Noise: An Aesthetics of Rock, Durham: Duke University Press.
Green, L. 2002. How Popular Musicians Learn. Ashgate: Aldershot.
Hindson, M. et al. 2006. Music Composition Toolbox. Sydney: Science Press.
Lacasse, S. 2000. 'Listen to My Voice': The Evocative Power of Vocal Staging in Recorded Rock Music and Other Forms of Vocal Expression. Ph.D. Dissertation. University of Liverpool. Available at:
Martin, G. 1979. All You Need is Ears. London: Macmillan.
--1983. Ed. Making Music. London: Pan Books.
Massey, H. 2000. Behind the Glass - Top Record Producers Tell How They Craft the Hits. San Francisco: Backbeat Books.
Moylan, W. 2002. The Art of Recording: Understanding and Crafting the Mix. Amsterdam and London: Focal Press.
Obert, K.B. and Chicurel, S.R. 2005. Geography of the Voice: Anatomy of an Adam's Apple. New York: Vocal Innovations.
Vella, R. and Arthurs, A. 2000. Musical Environments. Sydney: Currency Press.
Walser, R. 2003. Pop Music Analysis: ten apothegms and four instances. In: Moore, A.F. ed. Analyzing Popular Music. Cambridge: Cambridge University Press.
Webb, J. 1998. Tunesmith: inside the art of songwriting. New York: Hyperion.
Risk assessment statement
- Excessive noise in confined spaces can damage hearing. Exposure to such noise should be brief and controlled.
- Personal injury is possible from incorrectly lifting heavy electronic or acoustic instruments or equipment.
- The physical demands of playing instruments may cause injuries such as repetitive strain injury. If in doubt consult a physician
- The use of electronic instruments and equipment may cause electrocution if handled incorrectly or an electrical fault occurs.
Always ensure your equipment has been regularly tested by a qualified electrician.
- Musical, electrical and computer equipment is prone to failure. Any loss of time for such failures should be accounted for in your planning.
- Safety of data storage can never be fully guaranteed. You are required to take all steps necessary to ensure continuity of your data.
Disclaimer - Offer of some units is subject to viability, and information in these Unit Outlines is subject to change prior to commencement of semester.
Last modified: 14-Dec-2012
