JCU Logo

JOHN CABOT UNIVERSITY

COURSE CODE: "DMA 228"
COURSE NAME: "Sound Design in Media Arts"
SEMESTER & YEAR: Spring 2017
SYLLABUS

INSTRUCTOR: Kwame Phillips
EMAIL: [email protected]
HOURS: T12:30 PM 3:15 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES:
OFFICE HOURS: By appointment

COURSE DESCRIPTION:
This course provides an overview of sound culture and nonlinear audio production with an emphasis on theoretical, historical and practical approaches. In this introductory-level course, students will gain familiarity with the historical trajectory of sound technology and sound art, and get an overview of the theoretical reflections that have accompanied sound artistic creation as well as the basic tools and techniques for nonlinear audio production. The projects devised for the class are aimed at improving listening skills, raise awareness of aural and sonic experience and integrate sound with narrative visual media, so as to allow students to communicate and conceptualize with sound. During the course of the session three fundamental aspects of sound will be addressed: 1)Sound as Sound/Listening/ Field Recordings/ Soundscapes; 2) Sonic Narratives; 3) Sound & Image Relations.
SUMMARY OF COURSE CONTENT:

Though often overlooked, sound plays a fundamental role in experiences of media and culture. From the mundane sounds of our everyday lives, to the more designed and constructed sounds of popular media, to the more obscure sounds of sound art, sound is fundamental to communication and to our perceptions of the world. This class aims to introduce you to sound culture and sound studies, and to explore “what sound does in the human world and what humans do in the sonic world” (Sterne 2013).

In the course, we will consider the role sound plays in various media through topics such as: soundscapes and the way sounds affect our understanding of space, sound design and how sound and music create narrative, sound art and its manipulation of sound to bring attention to artistic perspective, silence and deafness, noise and glitch, voice and empowerment, listening in an era of digital sound, and technologies of sound production. You will also put these theories into practice through audio assignments such as the creation of mixtapes, an audio essay and other brief soundworks. You will learn the basics of digital audio recording and editing software and both practical skills for creating digital audio projects and theoretical concepts for understanding what it means to think sonically.

LEARNING OUTCOMES:

By the end of this course you will have greater general knowledge of the field of sound studies. You will develop critical listening skills and be more attuned (intellectually and sonically) to sound. You will be exposed to various important sound works. You will learn to use digital audio recording and editing technologies to create your own sound works.

TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
Audio Culture: Readings in Modern MusicChristoph Cox & Daniel WarnerContinuum9780826416155 Readings will be assigned from the text. It is unlikely that you will have to purchase the book.    
The Auditory Culture Reader Michael Bull & Les BackBerg Publishers9781859736180 Readings will be assigned from the textbook. It is unlikely that you will be required to purchase the book itself.    
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Discussion/Participation 15
Exercises8 separate short projects40
Audio Essay / Podcast10 minutes20
Final Project (Mixtape)15 minutes25

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.

-ATTENDANCE REQUIREMENTS:
This course requires a significant amount of work to be completed outside of class hours. Students who expect to travel frequently during weekends are strongly advised against registering for this course.
ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.

SCHEDULE

Week 1: Intro to Sound Studies / History of Sound Reproduction / Software

Week 2: Listening and Ambience / Exercise 1: Take a ride/Listen and describe

Week 3: Sound in Space, Field Recording / Exercise 2: Soundwalking

Week 4: Soundscapes / Exercise 3: Sound Map

Week 5: Sound Design and Soundtracks / Exercise 4: Playlist to your day 

Week 6: Sound Art (Guest lecture: TBA) / Exercise 5: Set a process to music

Week 7: Audio Essays

Week 8: Silence / Project: Audio Essay / Podcast

Week 9: Voice (Guest lecture: TBA) / Exercise 6: Record a conversation/interview

Week 10: Noise and Glitch / Exercise 7: Sound map of noise

Week 11: Remix and Sampling / Exercise 8: Sound effects 

Week 12: Music Online / Project: Mixtape 

Week 13: Music In-ear, Branded sound / Project: Mixtape 

Week 14: Mixtape Presentation