| Module Title |
Audio |
| Module Code |
ICT1020 (ITS: CM243) |
|
Faculty |
Humanities & Social Sciences |
School |
Communications |
|
NFQ level |
8 |
Credit Rating |
10 |
|
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Description
The aims of the module are: 1. Develop a critical understanding of the use of sound and music in
emerging media. 2. Critique influential producers and makers in the audio field. 3. Enable students to
advance their skills to the planning and implementation of audio and music components time based and
responsive mixed media projects. 4. Plan, design and deliver soundtracks for time based media and
responsive systems.
|
Learning Outcomes
1. 1E2655E1-4527-0001-3968-1B101D5C3210
2. Analyse the role of sound and music in mixed media environments.
4. 22,20,7,6,19,21,11,9
5. 1
6. 1E2655E1-5A7E-0001-6A82-12FC1A051449
7. Conduct recording sessions for music, voiceover, foley and ADR.
9. 22,17,20,18,7,12,16,15,6,13,8,21,11,9,10
10. 2
11. 1E2655E1-67DA-0001-19C8-19ED77C01357
12. Show proficiency in the use of location recording technologies.
14. 22,17,20,18,7,12,16,15,6,23,13,8,19,21,11,9,10
15. 3
16. 1E2655E1-746A-0001-F13A-78201A7393E0
17. Mix sound from both musical and environmental sources.
19. 22,17,20,18,7,12,15,6,23,13,8,19,21,14,11,9,10
20. 4
21. 1E2655E1-811A-0001-6B93-32AE47C0178E
22. Appraise creative recording practices.
24. 22,20,7,12,6,23,8,19,21,11,9,10
25. 5
26. 1E2655E1-90E5-0001-EA1D-105A19A018A0
27. Appraise the work of sound artists
29. 22,17,20,7,12,6,23,8,19,21,11,9,10
30. 6
31. 1E2655E1-9D39-0001-BB24-5AD091A01050
32. Produce a major sound work for integration into a mixed media environment.
34. 22,17,20,18,7,12,16,6,23,13,8,19,21,11,9,10
35. 7
36. 1E2655E1-A9FD-0001-8BCB-79C013AE1517
37. Design and produce sound for linear and responsive media
39. 22,17,20,18,7,12,16,15,6,23,13,8,19,21,14,11,9,10
40. 8
|
| Workload | Full time hours per semester | | Type | Hours | Description |
|---|
| Lecture | 24 | Lecture - Demonstrations | | Seminars | 24 | Lecture/Seminars/Studio Workshops | | Assignment Completion | 20 | Assignments 1-Portfolio | | Class Presentation | 34 | Assignment 2 - preparation and presentation | | Assignment Completion | 45 | Final Assignment Completion | | Fieldwork | 20 | Location Recording | | Directed learning | 23 | Directed recording and mixing tasks | | Independent Study | 60 | No Description |
| Total Workload: 250 |
|
|
| Section Breakdown | | CRN | 10820 | Part of Term | Semester 1 | | Coursework | 100% | Examination Weight | 0% | | Grade Scale | 40PASS | Pass Both Elements | N | | Resit Category | RC1 | Best Mark | N | | Module Co-ordinator | Declan Tuite | Module Teacher | |
|
| Assessment Breakdown |
| Type | Description | % of total | Assessment Date |
|---|
| Project | Analyse an influential maker and present a remix or reworking of audio
in a mixed media environment | 30% | Week 8 | | Project | To produce a major sound work or sound installation | 50% | Week 12 | | Portfolio | Set of 4 directed technical tasks - | 20% | Week 11 |
| Reassessment Requirement Type |
Resit arrangements are explained by the following categories;
RC1: A resit is available for both* components of the module.
RC2: No resit is available for a 100% coursework module.
RC3: No resit is available for the coursework component where there is a coursework and summative examination element.
* ‘Both’ is used in the context of the module having a coursework/summative examination split; where the module is 100% coursework, there will also be a resit of the assessment
|
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Pre-requisite |
None
|
|
Co-requisite |
None |
| Compatibles |
None |
| Incompatibles |
None |
|
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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, demonstrations, resource-based learning exercises and discussions
Technical: Studio
Advanced recording techniques, stereo microphone placement, creative recording, live radio broadcast, MIDI and music software.
Technical: Editing and Mixing
Advanced editing techniques, manipulation and mixing. Sound for film and multimedia projects.
Project Development
Research, interpretation of a brief, pre and post production strategies, peer appraisal and critique.
Appraisal of film sound
An advanced analysis of sound, silence, music and voice in multimedia projects.
Technical: Film Sound
Advanced film and responsive media sound techniques.
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Indicative Reading List
Books:
- Tatlow, S.,: 2024, Authenticity in sound design for virtual reality. In History as Fantasy in Music, Sound, Image, and Media (pp. 161-184)., Routledge.,
- Sinclair, J.L.,: 2020, Principles of game audio and sound design: sound design and audio implementation for interactive and immersive media., Focal Press.,
- Rambarran, S.,: 2021, Virtual Music: Sound, Music, and Image in the Digital Era., Bloomsbury Publishing USA.,
- Murray, L.,: 2019, Sound design theory and practice: Working with sound., Routledge,
- Schutze, S.,: 2018, Virtual Sound: A Practical Guide to Audio, Dialogue and Music in VR and AR., Taylor & Francis,,
- Williams, James & Hall, Sarah: 2017, Music on Screen: From Cinema Screens to Touchscreens, 2, Musicology Research Journal,
- Garner, T.A.,: 2017, Echoes of Other Worlds: Sound in Virtual Reality: Past, Present and Future., Springer,
- Collins, K., Kapralos, B. and Tessler, H. eds.,: 2014, The oxford handbook of interactive audio., Oxford University Press, USA.,
- Summers, T.,: 2016, Understanding video game music., Cambridge University Press.,
- Born, G.: 2013, Music, sound and space: transformations of public and private experience, Cambridge University Press.,
- Wierzbicki, J.: 2012, Music, sound and filmmakers: sonic style in cinema., Routledge, Routledge,
- Bordwell, David.: 2013, Narration in the fiction film, Routledge, Routledge,
- Barry Blesser and Linda-Ruth Salter: 2007, Spaces Speak, are you listening? Experiencing Aural Architecture, MIT Press,
- Licht, A. and O'Rourk, J.: 2007, Sound art: beyond music, between categories., Rizzoli.,
Articles:
- Meelberg, V.,: 2018, Narrative Sonic Ambiances. Designing Positive Auditory Environments Using Narrative Strategies., In Proceedings of the Euronoise 2018, Crete, Greece,, 27–31 May 2018;, 845, 524410
- 2018: .Sonic interactions in virtual reality: State of the art, current challenges, and future directions., IEEE computer graphics and applications,, 38(2), pp.31-43., 524411, 1
- Reconstructing atmospheres: Ambient sound in film and media production.: Communication and the Public, 2(4), 352,
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Other Resources
- 1: Handouts:, Technical resourses,
- 420693: 1, Readings:, Project Brief, Lecture related materials,
- 420694: 1, Audio:, Listening examples and resources,
- 420695: 1, Websites:, Audio relates URL's,
- 420696: 1, Video, Course related video support,
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