Units
Creative Studio 5
Unit code: KMB325
Contact hours: 6 per week
Credit points: 24
Information about fees and unit costs
This unit builds students' skills working in self-directed environments as project initiators, and as active collaborators on projects devised by peers. Students will explore, in greater detail, strategies for audience engagement, music curatorship, and event promotion and will critically examine the approaches of successful music and sound professionals. In consultation with studio staff, students will devise a program of work for public presentation alongside a marketing and promotion plan. Students will examine the relationships between live performance/presentation and recording, both creatively and as tools for audience engagement.
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
You will devise a program of work for public presentation. This work, initiated by you in collaboration with your peers, will be developed in a largely self-directed environment with feedback from staff and industry professionals. You will extend the concepts relating to music and sound design creation and presentation covered in Creative Studio 4.
Aims
This unit aims to: expand on skills presented on Creative Studio 4; provide you with an environment in which to develop creative, technical and promotional skills at a professional level; apply these skills in the planning and management of major creative works; engage in critical reflection on the development of your creative identity.
Objectives
On completion of this unit you should be able to:
1. Plan and manage a large-scale collaborative musical or sound design project.
2. Communicate your projects to peers using appropriate presentational methods for various media.
3. Display a critical and analytical understanding of professional contexts within which your creative practice exists.
4. Demonstrate appropriate music and sound listening skills relating to recognition and differentiation of key elements in the organisation of sound.
Content
This unit addresses content such as:
* current approaches to content creation;
* rehearsal and recording techniques;
* technical, aural and critical skill development;
* the identification and development of personal artistic directions mentored by 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 for peers. To complement and enhance these understandings, aural perception classes, (both traditional and non-traditional) will be provided. 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.Students will be provided with regular oral and written feedback.
Assessment name:
Project Proposal
Description:
A detailed project management plan for the public presentation of your work in Semester 2.
Relates to objectives:
1, 3
Weight:
30%
Internal or external:
Internal
Group or individual:
Individual
Due date:
Early semester
Assessment name:
Demonstration
Description:
Progressive assessment of aural skills. Participation and in-class presentations in both traditional and non-traditional aural workshops.
Relates to objectives:
4
Weight:
30%
Internal or external:
Internal
Group or individual:
Individual
Due date:
Throughout semester
Assessment name:
Presentation
Description:
Works-in-progress presentation. A class presentation of the project plan, relevant research and works-in-progress.
Relates to objectives:
2, 3
Weight:
40%
Internal or external:
Internal
Group or individual:
Group with Individual Component
Due date:
Throughout 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
Readings deemed essential by the teaching staff will be available on the unit Blackboard site under the Course Materials Database.
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.
Holman, T. 2008. Surround Sound. Oxford: Focal 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.
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.
Ondaatje, M. 2002. The Conversations: Walter Murch and the Art of Editing Film. London: Bloomsbury.
Purcell, J. 2007. Dialogue Editing for Motion Pictures. Oxford: Focal Press.
Sonnesnchein, D. 2001. Sound Design. Studio City: Michael Wiese Productions.
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.
Weis, E. and Belton, J. 1985. Film Sound: Theory and Practice. New York: Columbia University Press.
Yewdall, D. 2007. Practical Art fo Motion Picture Sound. Oxford: Focal Press.
Risk assessment statement
There are no out of the ordinary risks associated with this unit.
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
