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Module Specifications..

Current Academic Year 2023 - 2024

Please note that this information is subject to change.

Module Title Audio and Sound Design
Module Code CM555
School School of Communications
Module Co-ordinatorSemester 1: Andreas Aurelio Rauh Ortega
Semester 2: Andreas Aurelio Rauh Ortega
Autumn: Andreas Aurelio Rauh Ortega
Module TeachersMarcos Dias
Andreas Aurelio Rauh Ortega
NFQ level 9 Credit Rating 10
Pre-requisite None
Co-requisite None
Compatibles None
Incompatibles None

The aims of the module are twofold: 1. To develop a critical understanding of the use of sound and music in emerging media an. 2. To give students a practical introduction to the planning and implementation of audio and music components in time based and responsive mixed media projects

Learning Outcomes

1. To be able to record audio suitable for the production of music, voiceover, foley, ADR, and other uses in the media industries.
2. Show proficiency in the use and application of location recording technologies.
3. Manipulate, edit and produce sound recordings using digital software.
4. Appraise the work of sound artists, sound designers, and other professionals in the audio industries.
5. Produce a major sound work for integration with media environments, including legacy and emerging media.
6. Design and produce sound for linear and responsive media
7. Mix sound from both musical and environmental sources.

Workload Full-time hours per semester
Type Hours Description
Lecture12Theory and Case Study based
Seminars24Lab session practice based, demonstration & feedback sessions
Assignment Completion40Assignment 1
Assignment Completion60Assignment 2
Independent Study54independent learning time
Directed learning60Researching relevant techniques, artists and sound works
Total Workload: 250

All module information is indicative and subject to change. For further information,students are advised to refer to the University's Marks and Standards and Programme Specific Regulations at: http://www.dcu.ie/registry/examinations/index.shtml

Indicative Content and Learning Activities

Module Delivery
This module is delivered through a series of lectures, workshops, seminars, resource-based learning and demonstrations.

Hearing and spectral content of sound:
Frequency domain, fundamentals, harmonics, subharmonics & overtones. Principles of hearing:-Psycho-acoustics Principles of reproduction: monitoring, speakers and environment

Sound Design for Moving Image
Recording source audio for moving images. Foley recording and design Film Soundtrack and music

Digital Audio Recording.
Microphone Techniques & Location recording The recording studio for dubbing and voice over & Multi-track recording.

Multimedia Sound and Music
The semiotics of sound and music; cymatics; sound/colour theories; synaesthesia; sound narratives; silence; acoustic ecology.

Synthesis and Sampling;
Sound synthesise: additive, subtractive, modulation and granular MIDI

Digital Signal Processing
Multi-track Mixing: Editing, Effects & Processing:( equalisation, compression and reverberation)

Audio for responsive/ interactive environments:
Sound design for installations Sound design for games, Algorithmic Audio composition.

Sounds in Spaces
Theory and practice of how humans perceive sounds in spaces; potential practical applications for emerging media projects; use of spatial audio software for audiovisual production.

Assessment Breakdown
Continuous Assessment100% Examination Weight0%
Course Work Breakdown
TypeDescription% of totalAssessment Date
ProjectProduce a piece of mixed audio ( studio and environmental sounds) for time-based media.30%Week 6
ProjectTo produce a major sound work or sound installation.50%Week 12
ProjectWritten component of the major sound work or sound installation (exegesis), with rationale, production report, and self-reflection sections.20%n/a
Reassessment Requirement Type
Resit arrangements are explained by the following categories;
1 = A resit is available for all components of the module
2 = No resit is available for 100% continuous assessment module
3 = No resit is available for the continuous assessment component
This module is category 1
Indicative Reading List

  • Barry Blesser & Linda-Ruth Salter: 2007, Spaces Speak; are you listening?: Experiencing Aural Architecture, MIT Press,
  • Alan Licht: 2007, Sound Art: Beyond Music, Between Categories, Rizzoli, New York,
  • Sean Cubbitt: 0, Digital Aesthetics,
  • Altman, Rick, ed.: 1992, Sound Theory/Sound Practice, Routledge,
  • Nisbett, Alec: 1995, The Use of Microphones, Focal Press,
  • Jean_Francois Augoyard: 2006, Sonic Experience: A Guide to Everyday Sounds, McGill, Montreal,
  • Matt Woolman: 2000, Sonic Graphics: Seeing Sound, Thames & Hudson, London,
  • David Gibson: 1998, The Art of Mixing,
  • Dan Hosken: 2012, Music Technology and the Project Studio, 1, Routledge, 9780203804
  • Daniel W. Hosken: 2015, An Introduction to Music Technology, 1, Routledge, New York, 9780415825726
  • Bernie Krause: 2016, Wild Soundscapes, Yale University Press, 9780300218190
  • R. Murray Schafer: 1993, The Soundscape, Destiny Books, 9780892814558
  • Joshua Tucker: 2019, Making Music Indigenous, University of Chicago Press, 9780226607160
  • Jonathan Sterne: 2012, MP3, Duke University Press, 0822352877
Other Resources

Update to MSc. title and to reflect developments in the field -
Programme or List of Programmes
GDEMEDGraduate Diploma in Emerging Media
MADPMasters in Documentary Practice
MSCEMMSc in Emerging Media
Date of Last Revision01-FEB-12

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