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JOHN CABOT UNIVERSITY

COURSE CODE: "DMA 228"
COURSE NAME: "Sound Design for Media Arts"
SEMESTER & YEAR: Fall 2024
SYLLABUS

INSTRUCTOR: Mauro Remiddi
EMAIL: [email protected]
 HOURS: M12:30 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, 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
an audio essay or podcast and other sound works. 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 develop basic proficiency in designing sound (recording, monitoring, editing,
processing, mixing). 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:
NONE
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Discussion and peer critiques  10%
Sound journal 10%
Practical exercises 21%
Outlines 5%
Revisions 4%
Audio essay/Podcast 20%
Final creative project 30%

-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:
ATTENDANCE REQUIREMENTS AND EXAMINATION POLICY
You cannot make-up a major exam (midterm or final) without the permission of the Dean’s Office. The Dean’s Office will grant such permission only when the absence was caused by a serious impediment, such as a documented illness, hospitalization or death in the immediate family (in which you must attend the funeral) or other situations of similar gravity. Absences due to other meaningful conflicts, such as job interviews, family celebrations, travel difficulties, student misunderstandings or personal convenience, will not be excused. Students who will be absent from a major exam must notify the Dean’s Office prior to that exam. Absences from class due to the observance of a religious holiday will normally be excused. Individual students who will have to miss class to observe a religious holiday should notify the instructor by the end of the Add/Drop period to make prior arrangements for making up any work that will be missed. The final exam period runs until ____________
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
September Topics

INTRODUCTION TO SOUND STUDIES

concepts, practices, and technologies of sound and listening in different historical and cultural contexts.

LISTENING AND AMBIENCE / The link between sounds and memory
Introduction to Michel Chion: the sound on screen / How sounds can help to narrate a story
In-class exercise: Listening exercises / The morning project


October Topics
Sound synthesis
Sound design in movies and in ads (how sounds are used to narrate a story/ how sounds are used to trigger emotions)
The Acousmonium (introduction to Musique concrete)
In-class exercise: Audition tutorial, introduction / editing sounds/ playing with the synth to discover how sound synthesis works

November Topics

Soundscape / How to explore the sonic environment
Sound Walks / Active listening
Field Recordings / on site recordings using different type of microphones

In-class exercise: Sound walking review,  find the 'vowels' in the formant sounds of objects.

December Topics

Introduction to Acoustemology
Introduction to Psycho geography 
Sound Art & sound installations
    
In-class exercise: Sound Journal discussion / Finding the 'tone' of the room / Sound Maps

Other Topics (the detailed calendar will be updated once the course started)

AUDIO ESSAYS AND PODCAST / Create a voice narrative for your sound map.
Sound effects / Foley project
SILENCE / Non-verbal expression: Make notes on the non-verbal expressions you use.
REMIX AND SAMPLING  
 
FINAL PROJECT / WORKSHOP