Units

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Sample subject outline - Semester 2 2013

Note: Subject outlines often change before the semester begins. Below is a sample outline.

Rationale

This unit is one of the capstone units for both the Bachelor of Music and Bachelor of Fine Arts (Sound Design) degrees. You will lead and participate in collaborative projects to produce the most fully realised work in your degree. This portfolio of work will demonstrate that you have developed a sophisticated voice or style over the three years of study and will be launched to a public audience supported by a marketing and promotion plan. It will extend and apply the concepts and skills covered in Creative Studio 5.

Aims

This unit aims to:
* expand on skills presented on Creative Studio 5;
* provide you with an environment in which to develop creative, technical and promotional skills at a professional level; and
* develop your creative confidence and identity in the presentation of major creative works to public audiences.

Objectives

On completion of this unit you should be able to:

1. Manage and evaluate a large-scale collaborative musical or sound design project.
2. Communicate your projects to public audiences using appropriate presentational methods for various media.
3. Display a critical and analytical understanding of the range of public contexts within which your creative practice exists.
4. Demonstrate advanced 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:
* an extended range of current approaches to content presentation
* technical, aural and critical skill development appropriate for a range of public contexts
* the identification and development of personal artistic directions related to the demands of public presentation 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 public presentations at off-campus locations. To complement and enhance this learning, 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: Demonstration
Description: Progressive assessment of aural skills. Participation and presentations in both traditional and non-traditional aural workshops.
Relates to objectives: 4
Weight: 20%
Internal or external: Internal
Group or individual: Individual
Due date: Throughout semester

Assessment name: Presentation
Description: Public presentation of creative work. A public, off-campus presentation of your work in a professional context, targeting a specific audience.
Relates to objectives: 1, 2
Weight: 40%
Internal or external: Internal
Group or individual: Group with Individual Component
Due date: Throughout semester

Assessment name: Creative Work
Description: Folio of creative works and written report. The folio will contain a substantial body of collaborative work, and be accompanied by a comprehensive written analysis of the work and the processes involved in designing and producing it.
Relates to objectives: 1, 2, 3
Weight: 40%
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

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. 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.
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 associated risks 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: 03-Apr-2013