Creative Sound Production

Module Code : AG0922A
Module Title  : Drama Production for Radio

Principal Domain : Institute of Arts, Media and Games
Principal Division : Arts and Games      Weighting : 100%

Level : 9
SCQF Credits : 30
Status : Approved School Executive
Semester : Semester 1 through 2     Academic Session : 2011/2
Last Updated : 06/04/11 By Colin Rae

Pre-requisites :  
Co-requisites :  
Replaced Modules :  
Prohibited Combinations :  


Module Tutor : Kenny McAlpine (K510914)

Brief Description
This module is designed to introduce the students to the field of radio production, and the varied skills required in the profession. As well as excellent sound production skills, the module will deal with written skills; the process of reviewing and editing scripts; directorial skills, and project planning and scheduling.

Aim
The aim of this Module is to provide the student with : an understanding and good working knowledge of the drama production process for radio, including an introduction to the appropriate use of genre, style and content.

Learning Outcomes
By the end of this module the student should be able to :
1. Demonstrate detailed knowledge of a range of terms and definitions associated with radio production.
2. Explain one's own work within the context and culture of contemporary practice in radio drama production.
3. Prepare a treatment for a short radio drama.
4. Write, review and edit a detailed radio script, paying particular attention to overall length and scheduling.
5. Direct, record, edit and distribute via the appropriate format(s) a short piece of radio drama.

Indicative Content

1. History and Context
An introduction to the subject, charting the development of radio drama from the early live BBC broadcasts through to today's studio-produced broadcasts.
2. Writing
You will study the writing process: how to present and develop initial ideas; how to structure the script, and the differences and similarities between radio drama and that for theatre, film and television. You will develop a draft script, which will then be analysed and revised.
3. Casting
This is a very important part of the production process involving the writer, director and producer - it has often been said that a director is only as good as his or her casting. You will discuss and consider the casting requirements for your production.
4. Direction and recording
A detailed study of the BBC process, derived from the tradition of radio production since the 1920s. This is contrasted with modern digital techniques, which use DSP technology to process dialogue and speech and place these artificially in a variety of different ambient environments.
5. Direction and recording
You will work towards creating a stereo sound stage acting master - a recording of the dialogue and script as acted out by the cast in a sound recording studio. The key factor here is of representing sound that stimulates the imagination.
6. Selection and critical analysis
You will select musical themes & underscore that contribute to the radio drama. This may involve searching libraries of production music, or commissioning composers to produce original scores. In all cases, the music will have to be edited to suit the particular needs of the production.
7. Post production
You will plan and create a 'characteristic sound' for your production. This involves a consideration of many factors, including broadcast network; thematic content; underlying message or theme; the background sound conventions of the play, and the tonal characteristics of the recordings.
8. Multi-tracking post production
You will plan and execute a full mixdown of your production. This will involve careful timing and disciplined experimentation to ensure that your finished product is well-balanced, lively, engaging and sounds good on a variety of mono and stereo playback equipment.
9. Final editing
This may involve subtle tweaks to timing or restructuring the plot by changing the sequence of scenes. You will discuss ethical issues here - significant structural changes to the play in post- production and editing may undermine the moral rights of the author.
10. Delivery
You will discuss the requirements of typical broadcasters, the formats on which they expect to receive the production and the limitations that these impose (e.g. DAT, MiniDisc, Broadcast WAV). You will repackage your production in an appropriate format.

Statement on Teaching, Learning and Assessment
Delivery is primarily based around supervised workshop sessions. In semester 1, there will be 2 x 2-hour workshops per week, which are intended to cover pre-production work, and in particular the writing and development process. Ideally, these will take place in rooms that are able to facilitate groupwork. In semester 2, there will be 2 x 2-hour workshops per week, ideally in the Whitespace recording studio, as the students move into the production/post- production phase of their projects. Students are expected to carry out some self-directed study over and above timetabled class contact. Assessment is project-based, and the emphasis of practical sessions will shift to accommodate project-based work as each semester progresses.

Teaching and Learning Workloads :

Total : 300 hours
Tutorial/Seminar : 40 hours
Supervised Practical Activity : 40 hours
Unsupervised Practical Activities : 20 hours
Assessment : 100 hours
Independent : 100 hours

Assessment

Portfolio 1 Portfolio of evidence
Weighting             : 35%
Workload              : 35 hrs
Issue Week          : 1
Submission Week : 13
Return Week        : 18
Associated Learning Outcomes :
Assessment Tutor : Kenny McAlpine (K510914)

2 Portfolio 2 Portfolio of evidence
Weighting             : 65%
Workload              : 65 hrs
Issue Week          : 18
Submission Week : 33
Return Week        : 35
Associated Learning Outcomes :
Assessment Tutor : Kenny McAlpine (K510914)

 
 
 


Additional Assessment Information
The portfolio of evidence will include development work (e.g. sketchbook and project diary); production materials (e.g. scripts; test recordings etc.) and the finished sound piece.

Additional Tutors :
PART-TIME STAFF (PARTTIME)
SPEAKER GUEST (GUEST)
PARTTIME
GUEST

Supportive Reading
Carl Hausman et al 2003 Modern Radio Production: Production, Programming and Performance Wadsworth
Robert McLeish 1999 Radio Production: A Manual for Broadcasters Focal Press


Specialist Resources
Access to specialist sound-recording studio and portable recording equipment.

Teachability Issues for this module are :
Oral,Aural,Computer Based,Reading,Writing,Collaboration,Physical,Professional

Key Transferable Skills for this module are :
Communication,Team Work,Problem Solving,Planning,Interpersonal,Quantitative,Leadership,Professionalism

Module Code : AG0980A
Module Title  : Personal Project

Principal Domain : Institute of Arts, Media and Games
Principal Division : Arts and Games      Weighting : 100%

Level : 9
SCQF Credits : 30
Status : Approved School Executive
Semester : Semester 1 through 2     Academic Session : 2011/2
Last Updated : 30/05/11 By Colin Rae

Pre-requisites :  
Co-requisites :  
Replaced Modules :  
Prohibited Combinations :  


Module Tutor : SLOAN ROBIN (R514368)

Brief Description
Working within the creative industries very often requires a degree of entrepreneurship, and certainly self-direction and motivation. This module is designed to introduce the students to concept development and project planning, and will encourage the students to work within this model, by conceiving and developing a creative project of their own devising, and working this through

Aim
The aim of this Module is to provide the student with : the ability to independently devise, pitch, focus and develop a creative digital artefact within one¿s own specific area of interest to extend one¿s area of expertise, and to better understand the creative process.

Learning Outcomes
By the end of this module the student should be able to :
1. Formulate and pitch a synopsis or artistic statement from a set of aesthetic ideals.
2. Undertake independently a creative project using appropriate artistic techniques to consolidate and focus individual artistic style.
3. Critically evaluate work in progress and be able to adapt its development to problems that may arise.
4. Create a distinctive, consolidated and focussed individual artistic style.
5. Analyse and discuss the creative production process within the context of a specific project.

Indicative Content

1. Conceptualisation and planning
The first stage of the process is for the student to propose an initial project idea. From this, the student will identify and develop specific aims, objectives and learning outcomes associated with the project.
2. Pitching ideas
As part of the initial conceptualisation of the project, each student will meet in a small group, consisting of staff and peers to pitch their initial idea. The group will make comment, based on the suitability, scope and content.
3. Development
As part of the overall development process, the student will then consider the comments of the pitch group and revise the project design. The implications of the revisions are then worked through in order to identify design, resource and execution issues. The student will also timetable the project, identifying suitable project milestones.
4. Supervision
Following the submission and approval of a revised learning contract, student will be assigned a project supervisor, distinct from the module tutor, who will meet regularly with the student (normally weekly), oversee the execution of the project and ensure that deadlines are met.
5. Documentation
The student will be encouraged to keep a detailed project diary as the project progresses.
6. Subject-specific support
The student will be expected to identify individual members of staff or subject specialists who can assist with the development of his/her particular project.
7. Execution
The student will work with his/her supervisor in order to complete all deliverables identified in the learning contract to schedule.
8. Evaluation
The student will identify appropriate performance and/or achievement indicators and use these to test and evaluate the success or otherwise of the project.
9. Reflection
Using the principal outcomes of the evaluation process, the student will analyse the results of the testing and evaluation phase and draw conclusions that relate to the specific project aim.
10. Critique
The student will write a comprehensive discursive essay outlining the development and execution of the project and its key findings.

Statement on Teaching, Learning and Assessment
Critique sessions take place in week 19 and week 22.

Teaching and Learning Workloads :

Total : 300 hours
Lecture : 20 hours
Tutorial/Seminar : 12 hours
Supervised Practical Activity : 40 hours
Assessment : 80 hours
Independent : 148 hours

Assessment

Project 1 Artefact
Weighting             : 100%
Workload              : 80 hrs
Issue Week          : 26
Submission Week : 41
Return Week        : 43
Associated Learning Outcomes :
Assessment Tutor : Belinda Langlands (B510893)


 
 
 


Additional Assessment Information


Additional Tutors :

Supportive Reading
Savage, P. 1996 User Interface Evaluation in an Iterative Design Process: http://www.acm.org/sigchi/chi96/proceedings/shortp
Cameron, P. 2003 Encyclopedia of Design Theory http://www.designtheory.org/library/encyc/
Fulbright Commission 1990 Managing Design CNAA: London

Specialist Resources
Access to computer labs and whitespace.

Teachability Issues for this module are :
Oral,Visual,Symbolic,Reading,Writing,Professional

Key Transferable Skills for this module are :
Communication,Problem Solving,Research,ICT Skills,Self Evaluation,Planning,Professionalism

Module Code : AG0965A
Module Title  : Professional Practice, Media Law and Ethics

Principal Domain : Institute of Arts, Media and Games
Principal Division : Arts and Games      Weighting : 100%

Level : 9
SCQF Credits : 15
Status : Approved School Executive
Semester : Semester 1     Academic Session : 2011/2
Last Updated : 06/04/11 By Colin Rae

Pre-requisites :  
Co-requisites :  
Replaced Modules :  
Prohibited Combinations :  


Module Tutor : PETER O'HARE (P514430)

Brief Description
This module is designed to introduce the students to the varied moral, legal and ethical issues that arise from media production and the broadcast or publication of the associated output.

Aim
The aim of this Module is to provide the student with : an understanding of the legal and ethical frameworks surrounding broadcast media, and how to operate in a professional manner within these constraints.

Learning Outcomes
By the end of this module the student should be able to :
1. Describe and discuss a range of current business models that underpin and drive media production and broadcast.
2. Evaluate the different revenue collection and generation streams affecting the broadcast and publication of sound media.
3. Critically analyse a variety of legal, moral and ethical issues affecting the broadcast and publication of media content.
4. Demonstrate critical understanding of the social impact of sound media in a variety of media contexts.
5. Criticise the work of self and others within a legal and ethical framework.

Indicative Content

1. Professional Practice
What does it mean to be a 'professional' in the creative industries? How do you get the next job? Pitching your ideas. Understanding and delivering what the client really wants.
2. Professional Practice
What are the traditional business models and how do they generate income? How is that income distributed between publisher, distributor and artist? Revenue collection systems, such as the MCPS and PRS - what are their jurisdictions and do they help or hinder individual creativity?
3. Professional Practice
Online delivery networks and publishing: iTunes, Napster, iFilm. What are the business models that underpin them? How have branding and lifestyle sales driven the market? What place does advertising have in the digital marketplace?
4. Media Law
Intellectual property - what is it and who owns it? Is an idea copyrightable or patentable? Can we patent a process?
5. Media Law
Copyrights and moral rights. What are they and how long do they last? Who owns the copyright to your work and how do you prove it? When and why should you exercise your moral rights?
6. Media Law
Contracts - undoubtedly one of the biggest issues you'll face in the creative industries. How do you ensure that a contract is fair? Excatly what rights do you retain and which do you lose if you sign on the dotted line? What are your contractual obligations and liabilities?
7. Ethics
Freedom of speech - to what extent do content creators have freedom of speech when working in the public eye? You will examine a number of case studies that highlight the issues involved. For example, was the BBC correct to broadcast 'Jerry Springer the Opera' knowing it would cause offence?
8. Ethics
What ethical issues are involved in content creation? E.g. if at editing, you substantially alter the structure of a drama, you are potentially infringing the moral rights of the writer. How do we balance the need to produce quality content with the rights and IP of the individuals concerned?
9. Ethics
Freedom of expression and codes of practice - to what extent can you exercise your freedom of expression whilst subcontracted to work for a publisher or broadcaster? Must you adhere to their voluntary or statutory codes of practice? Should you adopt your own voluntary code of practice?

Statement on Teaching, Learning and Assessment
Students will be introduced to ethical thinking and theories during the first four-week block of teaching. At the end of this chunk, they will receive a piece of written assessment. This is intended to get the students used to the process of academic enquiry at an early stage of their academic careers. The remainder of the semester will be devoted to studying appropriate professional practice and the legal issues surrounding work in the sound production and broadcast sectors. This will be assessed in a separate piece of courswork at the end of semester.

Teaching and Learning Workloads :

Total : 150 hours
Lecture : 10 hours
Tutorial/Seminar : 20 hours
Assessment : 90 hours
Independent : 30 hours

Assessment

Essay 1 Ethics
Weighting             : 33%
Workload              : 30 hrs
Issue Week          : 1
Submission Week : 7
Return Week        : 10
Associated Learning Outcomes :
Assessment Tutor : PART-TIME STAFF (PARTTIME)

2 Case Study 2 Business practice and law
Weighting             : 67%
Workload              : 60 hrs
Issue Week          : 6
Submission Week : 13
Return Week        : 17
Associated Learning Outcomes :
Assessment Tutor : PART-TIME STAFF (PARTTIME)

 
 
 


Additional Assessment Information


Additional Tutors :
PART-TIME STAFF (PARTTIME)
PARTTIME

Supportive Reading
Ann Harrison 2003 Music: The Business - The Essential Guide to the Law and the Deals Virgin Books
Steve Gordon 2005 Future of the Music Business: How to Succeed with the New Digital Technologies Backbeat UK
Chris Frost 2000 Media Ethics and Self-regulation Longman

Specialist Resources
Teaching room equipped with audio and dvd playback.

Teachability Issues for this module are :
Oral,Visual,Aural,Diagrammatic,Reading,Writing,Professional

Key Transferable Skills for this module are :
Communication,Problem Solving,Research,ICT Skills,Self Evaluation,Planning,Interpersonal,Quantitative,Leadership,Professionalism

Module Code : AG0924A
Module Title  : Sound and Music for Interactive Media

Principal Domain : Institute of Arts, Media and Games
Principal Division : Arts and Games      Weighting : 100%

Level : 9
SCQF Credits : 15
Status : Approved School Executive
Semester : Semester 2     Academic Session : 2011/2
Last Updated : 06/04/11 By Colin Rae

Pre-requisites :  
Co-requisites :  
Replaced Modules :  
Prohibited Combinations :  


Module Tutor : PETER O'HARE (P514430)

Brief Description
Computer games and interactive entertainment provide a unique challenge to the sound producer, and in particular, how do producers create sound and music cues that respond effectively to changes in gameplay? This module attempts to address that problem.

Aim
The aim of this Module is to provide the student with : a good working knowledge of how music and sound can work within and enhance interactive environments.

Learning Outcomes
By the end of this module the student should be able to :
1. Demonstrate detailed knowledge of terms and applications used in the creation and manipulation of interactive sound and music.
2. Make appropriate decisions regarding music selection and/or creation for interactive media production.
3. Operate appropriate hardware and software to manipulate recorded sound and music in a manner that is fit for purpose, which can respond to user input, and create a specific emotional response.
4. Describe several methods of delivery of music, commenting on their appropriateness for different types of interactive application.

Indicative Content

1. History and Context
An outline of the development of sound for interactive entertainment, from the simplistic sound metaphors of earliest arcade machines through to the realistic effects and orchestral scores of the latest- generation console games.
2. History and Context
Discussion of the differences and similarities between producing sound cues for film, theatre and computer games. What impact does producing time- flexible cues have on the music and sound content?
3. Creating sound effects for interactive entertainment
What demands does interactivity place on sound effects creation? Is it better to use a variety of effects recorded at source or to artificially alter dry sounds to suit the interactive context?
4. Creating sound effects for interactive entertainment
You will work with a demo computer game sequence to identify the specific sound effect requirements. Are there multiple effects needed to avoid 'machine gunning' or will hardware processing of single spot effects be sufficient to populate the game world with sound?
5. Interactive music
What is interactive music? How is it created? How does it differ from a regular piece of music? Can it include tempo changes? Is it best to write lots of very short related cues that can be pieced together in different ways to give a complete piece of music?
6. Case study
An examination of the iMuse system by LucasArts. How has their experience of cinematography been used to good effect in such games as the Monkey Island series, the Star Wars series and Grim Fandango?
7. Case study
How do the latest crop of interactive music games, such as Parappa the Rapper or Guitar Hero use music as a principal element of gameplay? What demands does this place on the producer?
8. Interactive music
You will work with a demo computer game sequence to identify the interactive music needs of various aspects of the game (e.g. title screen, menu screen, intro sequence, in-game sequence etc.) Once completed, you will work towards generating interactive music content.
9. Case study
You will examine the music content and production demands of a number of different game titles.
10. Mixdown and delivery
What are the specific requirements of an interactive music mix? Should the music be supplied as component parts? One long sequence? Who decides, and how do you - the music producer - find out?

Statement on Teaching, Learning and Assessment
Delivery is based around a combination of lectorial delivery (approximately 1/3 of total contact time) and practical sessions (approximately 2/3 of total contact time). Students are expected to carry out some self-directed study over and above timetabled class contact. Assessment is project-based, and the emphasis of practical sessions will shift to accommodate project-based work as each semester progresses.

Teaching and Learning Workloads :

Total : 150 hours
Lecture : 10 hours
Tutorial/Seminar : 10 hours
Supervised Practical Activity : 10 hours
Unsupervised Practical Activities : 20 hours
Assessment : 70 hours
Independent : 30 hours

Assessment

Portfolio 1 Portfolio of evidence
Weighting             : 100%
Workload              : 70 hrs
Issue Week          : 17
Submission Week : 28
Return Week        : 32
Associated Learning Outcomes :
Assessment Tutor : PART-TIME STAFF (PARTTIME)


 
 
 


Additional Assessment Information
The portfolio of evidence will include development work (e.g. sketchbook and project diary); production materials (e.g. test recordings/syncs etc.) and the finished sound piece.

Additional Tutors :
PART-TIME STAFF (PARTTIME)
PARTTIME

Supportive Reading
Alexander Brandon 2004 Audio for Games : Planning, Process, and Production New Rider Games
Aaron Marks 2001 The Complete Guide to Game Audio: For Composers, Musicians, Sound Designers, and Game Developers CMP Books
Advice on current published and online reading materials will be issued during Week 1 of the module.

Specialist Resources
lecture room requires audio and dvd playback Access to specialist sound-recording studio and portable recording equipment.

Teachability Issues for this module are :
Oral,Visual,Symbolic,Aural,Diagrammatic,Computer Based,Reading,Writing,Collaboration,Physical,Professional

Key Transferable Skills for this module are :
Communication,Team Work,Problem Solving,Self Evaluation,Planning,Interpersonal,Quantitative,Professionalism

Module Code : AG0920A
Module Title  : Audio Production Methods

Principal Domain : Institute of Arts, Media and Games
Principal Division : Arts and Games      Weighting : 100%

Level : 9
SCQF Credits : 15
Status : Approved School Executive
Semester : Semester 2     Academic Session : 2011/2
Last Updated : 06/04/11 By Colin Rae

Pre-requisites : CA0820A CA0821A Exceptionally, if the student can demonstrate prior recording experience. 
Co-requisites :  
Replaced Modules :  
Prohibited Combinations :  


Module Tutor : Kenny McAlpine (K510914)

Brief Description
This module explores how sound is used as a filmic device. Drawing upon examples from film and animation, it highlights specific filmic and musical devices, and shows how these can be used to engineer particular moods and emotions within the audience.

Aim
The aim of this Module is to provide the student with : An understanding of how sound, music and sound effects can be used to enhance animation, and to manipulate emotional response.

Learning Outcomes
By the end of this module the student should be able to :
1. Define terms and applications used in the creation of music underscore, incidental music idents and stings for the moving image.
2. Make appropriate decisions regarding sound and music selection for film animation.
3. Describe and use methods of synchronising audio and visuals.
4. Use appropriate hardware and software to create sound effects and music, and synchronise to digital film or animation

Indicative Content

1. Background
An overview of the history of sound and music in animation, from early attempts at synchronisation by Edison through to the latest multi-channel surround systems by Dolby.
2. Background
A discussion of several key issues related to sound and music and the moving image - visual and aural tempo; juxtaposition; complementary music; diegetic and non-diegetic music.
3. Theory
Synchronous and asynchronous sound and music. What is the effect of each on the interpretation and presentation of a visual sequence?
4. Theory
Discussion of synchresis - how the forging of visuals and sound, and how, by careful selection and application of apparently contrasting sounds, visual sequences can be made more impactful.
5. Characterisation
How is music used to establish and portray character onscreen? We look at numerous examples from film and cartoon to explore how various established tricks and techniques are used as shorthands for character exposition and development.
6. Music and humour
How can humour be established through music? We look at various examples from classic and contemporary film and animation and consider the effects of drawing upon contemporary references for humorous purposes.
7. Technical issues
A discussion of audio-visual synchronisation, including MIDI timecode sync and SMPTE sync. Cue and Dope sheets and the roles that these play in the production process.
8. Cultural Issues
How does the use of sound and music in film vary across cultures? Is the use of the internet as a distribution mechanism leading to 'cultural convergence' as a result of globalisation? Does the dominance of the Holywood machine mean that western cinematic convention can be read and understood the world wide?
9. Case Studies
Music and sound in animation. A look at the BBC's "Walking with Dinosaurs" and how dramatic music effects are used as one of the key elements of both characterisation and storytelling.
10. Case Studies
Music and sonud in film. A look at Robert Bresson's "L'Argent", and a detailed exploration into his filmic philosophy. Parallels are drawn with the modern Dogma 95 film movement.

Statement on Teaching, Learning and Assessment
This module makes extensive use of film examples throughout, particularly in lectures, and so projection and sound facilities are important. Tutorials will involve the analytical review of film material and practical and project work, and will require access to specialist sound facilities (3rd floor teaching lab).

Teaching and Learning Workloads :

Total : 150 hours
Lecture : 12 hours
Tutorial/Seminar : 12 hours
Unsupervised Practical Activities : 24 hours
Assessment : 34 hours
Independent : 68 hours

Assessment

Essay 1 Discursive review of film
Weighting             : 25%
Workload              : 9 hrs
Issue Week          : 1
Submission Week : 15
Return Week        : 17
Associated Learning Outcomes :
Assessment Tutor : Kenny McAlpine (K510914)

2 Portfolio 2 Short film soundtrack
Weighting             : 75%
Workload              : 25 hrs
Issue Week          : 1
Submission Week : 15
Return Week        : 17
Associated Learning Outcomes :
Assessment Tutor : Kenny McAlpine (K510914)

 
 
 


Additional Assessment Information
Main unit of module assessment is a portfolio of evidence which demonstrates a professional approach to problem-solving. This may include literature review materials, production notes, work-in-progress and a personal review as well as the completed artifice.

Additional Tutors :

Supportive Reading
Cooke, Mervyn 2008 A History of Film Music Cambridge University Press
Yewdall, David L 2003 Practical Art of Motion Picture Sound Focal Press
Chion, Michael et al 1994 Audio Vision: Sound on Screen University of Columbia Press

Specialist Resources
Sound laboratory with sequencing software, sample library, playback and storage facilities

Teachability Issues for this module are :
Oral,Visual,Symbolic,Aural,Computer Based,Reading,Writing

Key Transferable Skills for this module are :
Communication,Problem Solving,Research,Self Evaluation,Planning,Interpersonal,Professionalism

Module Code : AG0921A
Module Title  : Creative Sound Synthesis

Principal Domain : Institute of Arts, Media and Games
Principal Division : Arts and Games      Weighting : 100%

Level : 9
SCQF Credits : 15
Status : Approved School Executive
Semester : Semester 1     Academic Session : 2011/2
Last Updated : 06/04/11 By Colin Rae

Pre-requisites : Some programming experience useful. 
Co-requisites :  
Replaced Modules :  
Prohibited Combinations :  


Module Tutor : Kenny McAlpine (K510914)

Brief Description
This module explores creative sound synthesis, and introduces the students to a programming environment that allows the implementation and control of virtual synthesisers within Windows.

Aim
This module will provide students with: an understanding of how sound synthesis and simple algorithmic programming techniques may be used to aid the composition process.

Learning Outcomes
By the end of this module the student should be able to :
1. Demonstrate detailed knowledge of terms and applications used in sound synthesis and the creation of computer-aided music.
2. Make appropriate design and aesthetic decisions regarding the creation of a computer-aided composition.
3. Use a variety of sound manipulation processes and effects to alter raw sound into a more useable commodity.
4. Plan and implement a simple synthetic composition.
5. Use appropriate hardware and software to create such compositions.

Indicative Content

1. Background/context
A discussion of Musique concrete and Elektronische Musik, illustrating how technology was a principal driving force behind this 'new music'.
2. Technical issues
An introduction to programming languages and sound creation environments for the creation and manipulation of synthetic instruments.
3. Synthesis
A discussion of additive synthesis and its uses. We explore the creation of additive sounds from first principles.
4. Synthesis
A discussion of subtractive synthesis and its uses. We explore how filter banks can be used to implement subtractive synthesis and show how it can be used to model simple vocal tracts.
5. Synthesis
A discussion of Amplitude Modulation synthesis and its uses. We determine a method for predicting the strength and location of AM sidebands.
6. Synthesis
A discussion of Frequency Modulation synthesis and its uses. We introduce Bessel Functions, and show how these can be used to predict FM spectra.
7. Synthesis
A discussion of granular synthesis and its uses, comparing the synthesis method with recent developments in physics and quantum mechanics.
8. Sound Processing
A discussion of basic sound effects and processes that can be used to dramatically alter source material. We look in more detail at filtering, distortion, flange, chorus, reverberation and echo, and discuss how these can be used in a creative context.
9. Algorithmic composition
A discussion of algorithmic control of composition parameters, and automatic generation of musical score.
10. Soundscape
You will use a combination of processed, sampled and synthetic sounds to create a creative soundscape.

Statement on Teaching, Learning and Assessment
Delivery is based around a combination of lectorial delivery (approximately 1/3 of total contact time) and practical sessions (approximately 2/3 of total contact time). Lectures and tutorials make extensive use of sound and visual examples, so sound playback and projection facilities are important. Students are expected to carry out some self-directed study over and above timetabled class contact. Assessment is project-based, and the emphasis of practical sessions will shift to accommodate project-based work as each semester progresses.

Teaching and Learning Workloads :

Total : 150 hours
Lecture : 10 hours
Supervised Practical Activity : 10 hours
Unsupervised Practical Activities : 20 hours
Assessment : 70 hours
Independent : 40 hours

Assessment

Portfolio 1 Portfolio of evidence
Weighting             : 100%
Workload              : 70 hrs
Issue Week          : 1
Submission Week : 13
Return Week        : 18
Associated Learning Outcomes :
Assessment Tutor : Kenny McAlpine (K510914)


 
 
 


Additional Assessment Information
Portfolio will consist of research and development work; production documentation and the finished piece.

Additional Tutors :

Supportive Reading
Cope D 1991 Computers and Musical Style Oxford University Press Oxford
Roads C 1996 The Computer Music Tutorial MIT Press Cambridge
Boulanger R 2001 The Csound Book MIT Press. Cambridge

Specialist Resources
"Computer laboratory with MIDI keyboards, sequencing software, sample library, playback and storage facilities"

Teachability Issues for this module are :
Oral,Visual,Symbolic,Aural,Diagrammatic,Computer Based,Reading,Writing

Key Transferable Skills for this module are :
Communication,Problem Solving,Research,Self Evaluation,Planning,Quantitative,Professionalism

Module Code : AG0962A
Module Title  : Digital Media Practice

Principal Domain : Institute of Arts, Media and Games
Principal Division : Arts and Games      Weighting : 100%

Level : 9
SCQF Credits : 15
Status : Approved School Executive
Semester : Semester 2     Academic Session : 2011/2
Last Updated : 06/04/11 By Colin Rae

Pre-requisites :  
Co-requisites :  
Replaced Modules :  
Prohibited Combinations :  


Module Tutor : Jim Bown (J510915)

Brief Description
An exploration of contemporary creative practice with a view to future cultural, technical and economic developments.

Aim
The aim of this Module is to provide the student with : An ability to understand and appreciate contemporary creative practice and to anticipate and react effectively to future developments and opportunities.

Learning Outcomes
By the end of this module the student should be able to :
1. Interrogate a range of sources and professional practitioners to determine the most appropriate routes into the industry.
2. Discuss critically one's own work in the context of technological advancement, and highlight possible areas in which the student might capitalise.
3. Design and create an innovative self-promotion package that is appropriate for the industry/practice they intend to enter.
4. Present and defend one's work to a panel of peers and professional practitioners.

Indicative Content

1. Historical influences
Explore how creative practice has been influenced by events, individuals, social and political movements and technological developments throughout history.
2. The creative industries
A number of established industry figures will deliver guest lectures, telling of their experience of the industry and how they managed to get their foot in the door.
3. Models of practice
As part of your research and development work, you will be expected to explore a number of different models of financing and operating creative projects.
4. Funding and grants
One traditional route into the industry is to apply for arts council and creative grants. What are the creative freedoms and restrictions this offers? Is it still a viable way to develop as a creative practitioner?
5. Entrepeneurship and SMEs
Much of the work in the creative industries, be it for film, advertising or recording, is done on a freelance basis. Many creatives will establish small one- or two- person companies to handle this sort of work.
6. Applying for jobs
There are still plenty of larger firms who offer employment opportunities for creatives: advertising, television and the games industry, for example. How do you find out about vacancies? How do you get an interview? How can you sell yourself to stand out from the other applicants?
7. Pitching and presenting
What is it that potential employers are looking for in a showreel? How long should it be? What sort of work should you put in? These are questions that you'll need to answer before starting work on your own 'calling card'.
8. Media & modes of exhibition
You will explore the most appropriate ways of exhibiting your work, whether for self-promotion or public display.
9. Complexity
You will explore the notion of mixed media, and the philosophies and cultural exchange that underpin generating new media and cultural forms.
10. Globalism
You will investigate the global communications expansion and its potential influence on creative practices.

Statement on Teaching, Learning and Assessment
Critique sessions take place in week 19 and week 22.

Teaching and Learning Workloads :

Total : 150 hours
Lecture : 10 hours
Tutorial/Seminar : 10 hours
Supervised Practical Activity : 20 hours
Assessment : 70 hours
Independent : 40 hours

Assessment

Portfolio 1 Showreel
Weighting             : 100%
Workload              : 70 hrs
Issue Week          : 1
Submission Week : 33
Return Week        : 38
Associated Learning Outcomes :
Assessment Tutor : Belinda Langlands (B510893)


 
 
 


Additional Assessment Information
CV, Innovative Professional Practice Promotional Material, Sketchbook

Additional Tutors :

Supportive Reading
Hofstadter D. R. 2000 Godel, Escher, Bach. Penguin Books London
Lillian F. Schwartz 1992 The Computer Artist's Handbook W.W.Norton New York
Colfer 2003 Writers' & Artists' Yearbook A & C Black

Specialist Resources
None

Teachability Issues for this module are :
Oral,Visual,Symbolic,Aural,Reading,Writing,Professional

Key Transferable Skills for this module are :
Communication,Enterprise,Problem Solving,Research,ICT Skills,Planning,Professionalism

Module Code : AG0923A
Module Title  : Sound Effects and Spatialisation

Principal Domain : Institute of Arts, Media and Games
Principal Division : Arts and Games      Weighting : 100%

Level : 9
SCQF Credits : 15
Status : Approved School Executive
Semester : Semester 1     Academic Session : 2011/2
Last Updated : 06/04/11 By Colin Rae

Pre-requisites : HND Sound Production or similar. 
Co-requisites :  
Replaced Modules :  
Prohibited Combinations :  


Module Tutor : PETER O'HARE (P514430)

Brief Description
Students are introduced to the notion of sound as a narrative device, and as a means of solidifying and characterising space. Students will work in a variety of film and radio contexts, drawing upon auditory spaces, which will lay the foundations for developing proficiency in creating realistic diegetic soundscapes for film and radio.

Aim
The aim of this Module is to provide the student with : an understanding of how sound and digital effects can be used to simulate, characterise and enhance virtual or artifical environments, and to drive and support narrative.

Learning Outcomes
By the end of this module the student should be able to :
1. Demonstrate detailed knowledge of terms and applications used in the creation and manipulation of sound effects.
2. Criticise the use of sound design in a variety of film and radio contexts.
3. Make appropiate contextual decisions regarding sound selection in order to set scene and characterise space.
4. Make appropriate contextual decisions regarding DPS effects and sound placement to establish a realistic and believable sense of 3- dimensional space.
5. Use appropriate hardware and software to create format-appropriate soundtracks illustrating sound placement, characterisation and narrative aspects of sound design.

Indicative Content

1. History and Context
An introduction to the subject, looking at the development of live sound cues in radio production, through the role of the foley artist to the modern sound designer.
2. History and Context
Discussion of the need for foley and sound effects: one of the ironies of sound production is that very often recordings of 'real' sounds do not translate well onto screen. How do we come up with sounds that match the visuals and which meet the audience's expectations?
3. Location recording for film
When shooting film on recording, the sound recordist is most interested in capturing dialogue. You will work in small groups to shoot footage, ensuring that dialogue is captured cleanly, whilst keeping the equipment out of shot of the camera operators.
4. Location recording for computer games
What specific demands does interactivity bring to the problem of location recording for games? For example, can static samples of engine noise really recreate realistically the effect of a car's throttle response to real-time input? How can we accommodate multiple in- game points of view?
5. Movements
One of the most important aspects of the foley artist's role is to recreate 'movements' - footsteps, the rustle of clothing and so on - which add depth and believability to the visual sequence. You will recreate these effects in the studio and stripe them to your footage.
6. Special effects and sound design
You will examine the creative application of sound recording to recreate the effect of fantastical or otherwise difficult-to-recreate sounds. For example, how were the sounds of the dinosaurs in Jurassic Park created? Or the ships in Star Wars? How important is the role of the sound designer here?
7. Case study
You will examine the role of sound design in Coppola's 'Apocalypse Now', the production in which the term 'Sound Designer' was coined by Walter Murch. In particular you will see how the sound design impacts on the way Copolla delivers the story and how it provides insight into character.
8. Case Study
You will examine in detail the opening sequence to Sergio Leone's 'Once Upon a Time in the West'. You will discuss the use of sound as 'performance art'; using amplified yet mundane sounds to create a sense of empathy with the situation portrayed onscreen.
9. Auditory scene analysis
You will study the placement of sound in 3D space. We will introduce the inverse-square law and the notion of atmospheric absorption; left-right placement of sound and 'panning'; moving sound sources and the Doppler effect. How can these ideas be extended to surround sound.
10. Mixdown
Mixing down a sound effects track is no different in terms of process to mixing down a music performance. However, it can differ hugely in terms of scale. With potentially many hundreds or thousands of individual sound elements, the mixer must have command over every aspect of the mix.

Statement on Teaching, Learning and Assessment
Delivery is based around a combination of lectorial delivery (approximately 1/3 of total contact time) and practical sessions (approximately 2/3 of total contact time). Students are expected to carry out some self-directed study over and above timetabled class contact. Assessment is project-based, and the emphasis of practical sessions will shift to accommodate project-based work as each semester progresses.

Teaching and Learning Workloads :

Total : 150 hours
Lecture : 10 hours
Tutorial/Seminar : 10 hours
Supervised Practical Activity : 10 hours
Unsupervised Practical Activities : 20 hours
Assessment : 70 hours
Independent : 30 hours

Assessment

Portfolio 1 Portfolio of evidence
Weighting             : 100%
Workload              : 70 hrs
Issue Week          : 1
Submission Week : 13
Return Week        : 17
Associated Learning Outcomes :
Assessment Tutor : PART-TIME STAFF (PARTTIME)


 
 
 


Additional Assessment Information
The portfolio of evidence will include development work (e.g. sketchbook and project diary); production materials (e.g. scripts; test recordings etc.) and the finished sound piece.

Additional Tutors :
PART-TIME STAFF (PARTTIME)
PARTTIME

Supportive Reading
Robert L. Mott 2005 Radio Sound Effects: Who did it and how in the era of live broadcasting McFarland
David Sonnenschein 2001 Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema Michael Wiese
Advice on current published and online reading materials will be issued during Week 1 of the module.

Specialist Resources
Lecture room requires audio and dvd playback Recording studio, audio lab and mixing facilities. Microphones.

Teachability Issues for this module are :
Oral,Visual,Symbolic,Aural,Diagrammatic,Computer Based,Reading,Writing,Collaboration,Physical,Professional

Key Transferable Skills for this module are :
Communication,Team Work,Problem Solving,Self Evaluation,Planning,Interpersonal,Quantitative,Professionalism

Module Code : AG1086A
Module Title  : Concept Development

Principal Domain : Institute of Arts, Media and Games
Principal Division : Arts and Games      Weighting : 100%

Level : 10
SCQF Credits : 15
Status : Approved School Executive
Semester : Semester 1     Academic Session : 2011/2
Last Updated : 24/04/11 By Wendy Robb

Pre-requisites :  
Co-requisites : AG1084A AG1085A  
Replaced Modules :  
Prohibited Combinations : AG1084ACannot be studied at first attempt after AG1084A. 


Module Tutor : Belinda Langlands (B510893)

Brief Description
This module is intended to develop the critical awareness of the students, particularly with regard to their own work. It is an essential part of the honours project, and encourages the students to develop and refine their project ideas with reference to established working practices in their chosen field.

Aim
The aim of this module is to provide the students with : the ability to formulate and develop a number of creative ideas with reference to an established aesthetic, working practice or critical theory.

Learning Outcomes
By the end of this module the student should be able to :
1. Analyse and evaluate complex critical theories and concepts.
2. Illustrate and express one's own creative process to an academic or peers.
3. Explore, generate and apply creative ideas.
4. Demonstrate an ability to lead in critique sessions to judge, appraise and evaluate the work of peers.
5. Demonstrate a critical self-awareness, and an enquiring, analytical and creative approach to own work.

Indicative Content

1. Setting out ideas
You will work to establish a core project aim based upon an initial idea, and which has the potential to sustain a large-scale project and dissertation in the your principal area of study. By cataloguing this initial developmental process, you will demonstrate an explicit exploration of ideas and thematic research.
2. Sketchbook
As your ideas develop, you will develop an audio- visual resource to expand and generate ideas, and to catalogue the thought processes and critical decisions that you make as your project develops.
3. Critical evaluation
You will make reference to different critical and aesthetic frameworks in order to analyse and comment upon your own work and that of others. You will consider the different aspects of a creative work in media appropriate to your subject domain and how these can be assessed.
4. Contextualisation
What is the historical and aesthetic context in which your work sits? Is there any such thing as a truly original idea? You will consider these issues and work to demonstrate the contextual dimensions to your work and ideas.
5. Pitching your ideas to others
What is the best way to get your creative ideas across to others? You will take part in a number of pitching sessions in order to expose your ideas to peers in such a way that they understand the concept and can make judgements about how your piece will work in context. This clearly has direct relevance to professional practice, where often, creatives must pitch for commissions.
6. Criticism and refinement
You will defend your work from questioning and criticism by others. After you have reflected on the feedback you have received from the crit and pitch sessions, you will work through a series of successive refinements in order to develop and strengthen your ideas.
7. Meaning/expression
How is meaning and expression conveyed through creative endeavour? How do these work as standalone elements and how do they work within a variety of media contexts, such as film, animation or interactive entertainment? Once you have established historical and cultural precedents, you will use this as a means of justifying your own work and demonstrating its relevance within its own context.
8. Communication
You will consider the communicative aspects of your work. How does convention and genre impact on the intended purpose of a creative work and will this limit its potential audience? For whom is the work intended, and will this audience understand and relate to the cultural markers that you have used?
9. Design considerations
You will consider all aspects of the design process in the conceptualisation and realisation of your work.
10. Display evidence of considerations
Discuss, present and produce analytical evidence of idea development.

Statement on Teaching, Learning and Assessment
Critique sessions take place in weeks 3 and 6.

Teaching and Learning Workloads :

Total : 150 hours
Lecture : 10 hours
Tutorial/Seminar : 20 hours
Supervised Practical Activity : 20 hours
Assessment : 60 hours
Independent : 40 hours

Assessment

Portfolio 1 Portfolio
Weighting             : 100%
Workload              : 60 hrs
Issue Week          : 1
Submission Week : 16
Return Week        : 19
Associated Learning Outcomes :
Assessment Tutor : Belinda Langlands (B510893)


 
 
 


Additional Assessment Information


Additional Tutors :
Paul Harris (P511087)

Supportive Reading
Michael J. Dick 2006 Creative Product Development: From Concept to Completion Professional Publications
Chris Barez-Brown 2006 How to Have Kick-Ass Ideas: Get Curious, Get Inventive, Get Creative Harper Element.


Specialist Resources
Access to computer labs and white space

Teachability Issues for this module are :
Oral,Visual,Symbolic,Diagrammatic,Reading,Collaboration,Professional

Key Transferable Skills for this module are :
Communication,Problem Solving,Research,ICT Skills,Self Evaluation,Planning,Interpersonal,Professionalism

Module Code : AG1084A
Module Title  : Honours Project

Principal Domain : Institute of Arts, Media and Games
Principal Division : Arts and Games      Weighting : 100%

Level : 10
SCQF Credits : 30
Status : Approved School Executive
Semester : Semester 2     Academic Session : 2011/2
Last Updated : 30/05/11 By Wendy Robb

Pre-requisites :  
Co-requisites : CA1010A CA1060A  
Replaced Modules :  
Prohibited Combinations :  


Module Tutor : Brian Robinson (B511075)

Brief Description
This module is intended to develop the critical awareness of the students, particularly with regard to their own work. It is an essential part of the honours project, and encourages the students to develop and refine their project ideas with reference to established working practices in their chosen field.

Aim
The aim of this module is to provide the students with : the ability to formulate and develop a number of creative ideas with reference to an established aesthetic, working practice or critical theory.

Learning Outcomes
By the end of this module the student should be able to :
1. Analyse and evaluate complex critical theories and concepts.
2. Illustrate and express one's own creative process to an academic or peers.
3. Explore, generate and apply creative ideas.
4. Demonstrate an ability to lead in critique sessions to judge, appraise and evaluate the work of peers.
5. Demonstrate a critical self-awareness, and an enquiring, analytical and creative approach to one's own work.

Indicative Content

1. Setting out ideas
You will work to establish a core project aim based upon an initial idea, and which has the potential to sustain a large-scale project and dissertation in the your principal area of study. By cataloguing this initial developmental process, you will demonstrate an explicit exploration of ideas and thematic research.
2. Sketchbook
As your ideas develop, you will develop an audio- visual resource to expand and generate ideas, and to catalogue the thought processes and critical decisions that you make as your project develops.
3. Critical evaluation
You will make reference to different critical and aesthetic frameworks in order to analyse and comment upon your own work and that of others. You will consider the different aspects of a creative work in media appropriate to your subject domain and how these can be assessed.
4. Contextualisation
What is the historical and aesthetic context in which your work sits? Is there any such thing as a truly original idea? You will consider these issues and work to demonstrate the contextual dimensions to your work and ideas.
5. Pitching your ideas to others
What is the best way to get your creative ideas across to others? You will take part in a number of pitching sessions in order to expose your ideas to peers in such a way that they understand the concept and can make judgements about how your piece will work in context. This clearly has direct relevance to professional practice, where often, creatives must pitch for commissions.
6. Criticism and refinement
You will defend your work from questioning and criticism by others. After you have reflected on the feedback you have received from the crit and pitch sessions, you will work through a series of successive refinements in order to develop and strengthen your ideas.
7. Meaning/expression
How is meaning and expression conveyed through creative endeavour? How do these work as standalone elements and how do they work within a variety of media contexts, such as film, animation or interactive entertainment? Once you have established historical and cultural precedents, you will use this as a means of justifying your own work and demonstrating its relevance within its own context.
8. Communication
You will consider the communicative aspects of your work ¿ how does convention and genre impact on the intended purpose of a creative work and will this limit its potential audience? For whom is the work intended, and will this audience understand and relate to the cultural markers that you have used?
9. Design considerations
You will consider all aspects of the design process in the conceptualisation and realisation of your work.
10. Display evidence of considerations
Discuss, present and produce analytical evidence of idea development.

Statement on Teaching, Learning and Assessment
Critique sessions take place in weeks 3 and 6.

Teaching and Learning Workloads :

Total : 300 hours
Lecture : 20 hours
Tutorial/Seminar : 20 hours
Supervised Practical Activity : 40 hours
Assessment : 120 hours
Independent : 100 hours

Assessment

Project 1 Design Project
Weighting             : 60%
Workload              : 80 hrs
Issue Week          : 1
Submission Week : 12
Return Week        : 17
Associated Learning Outcomes :
Assessment Tutor : Belinda Langlands (B510893)

2 Reflective Log 2 Project diary
Weighting             : 40%
Workload              : 40 hrs
Issue Week          : 1
Submission Week : 12
Return Week        : 17
Associated Learning Outcomes :
Assessment Tutor : Belinda Langlands (B510893)

 
 
 


Additional Assessment Information


Additional Tutors :
Paul Harris (P511087)

Supportive Reading
Michael J. Dick 2006 Creative Product Development: From Concept to Completion Professional Publications
Chris Barez-Brown 2006 How to Have Kick-Ass Ideas: Get Curious, Get Inventive, Get Creative Harper Element.


Specialist Resources
Access to computer labs and whitespace

Teachability Issues for this module are :
Oral,Visual,Symbolic,Diagrammatic,Reading,Collaboration,Professional

Key Transferable Skills for this module are :
Communication,Problem Solving,Research,ICT Skills,Self Evaluation,Planning,Interpersonal,Professionalism

Module Code : AG1085A
Module Title  : Pre-Production

Principal Domain : Institute of Arts, Media and Games
Principal Division : Arts and Games      Weighting : 100%

Level : 10
SCQF Credits : 15
Status : Approved School Executive
Semester : Semester 1     Academic Session : 2011/2
Last Updated : 30/05/11 By Wendy Robb

Pre-requisites :  
Co-requisites :  
Replaced Modules :  
Prohibited Combinations :  


Module Tutor : Brian Robinson (B511075)

Brief Description
This module is intended to explore the drafting and presentation of a set of production documents using appropriate writing techniques to provide a `script' or roadmap for the project, and the student will work towards creating a set of project-specific production documents.

Aim
The aim of this Module is to provide the student with : the skills necessary to support, produce and disseminate information in an artistic domain or creative context appropriate to the student¿s principal area of study.

Learning Outcomes
By the end of this module the student should be able to :
1. Formalise a detailed synopsis or artistic statement from a set of established aesthetic ideals.
2. Structure and develop a treatment to develop a creative piece for a particular media purpose appropriate to the student¿s principal area of study.
3. Draft and present a fully-developed set of production documents that is relevant to the specific project under development.
4. Demonstrate an ability to participate in critical workshops on their own and other students work.
5. Demonstrate a critical self awareness, and an enquiring, analytical and creative approach to their work.

Indicative Content

1. Synopses
You will work to establish the core content of your project with respect to the stated aims and objectives and create a brief synopsis of its content, context and relevance.
2. Artistic statement
You will identify and define the principal aesthetic and cultural drivers of your project and its intended purpose and use this to define an artistic statement that indicates clearly to a prospective audient or viewer the main reasoning behind it.
3. Key production documentation
You will identify and explain the use and development of the key production documentation for your project. This may, for example, take the form of a cue sheet or dope sheet; a script; a storyboard or a sound effects list.
4. Key production documentation
You will produce a set of comprehensive production documents pertinent and specific to your project and appropriate to your subject domain.
5. Genre
You will explore basic genre characteristics and relate these to the production of content appropriate to your particular area of study.
6. Genre
You will account for genre in your production documentation ¿ what implications does this have for audience expectations? What are the specific genre conventions within your chosen domain? Which of these should be met, and which can be subverted?
7. Alternative media forms
You will explore the possible exploitations of your content within other media. For example, could soundtrack elements form the basis of a CD release or could they be exploited as ringtones? Could characters from a film or animation provide the core elements of a game?
8. Scripting
You will consider the most appropriate method of `scripting¿ your project. For example, how best do you show camera movements and angles when directing a short film or animation? Alternatively, if you are designing a complex surround mix for the moving image, how can you best plan and communicate the details of the complex multilayered mix?
9. Presentation
You will take part in small group discussions, and will have the opportunity to present your work for criticism by the group. You will reflect on the criticism, and, where appropriate, incorporate the suggestions into your work.
10. Criticism
You will be expected to comment on and criticise the work of others in a small group discussion forum.

Statement on Teaching, Learning and Assessment
The module will be delivered using a lecture, workshop and tutorial mode, with a portfolio of evidence and a viva as assessment instruments.

Teaching and Learning Workloads :

Total : 150 hours
Lecture : 10 hours
Tutorial/Seminar : 10 hours
Supervised Practical Activity : 20 hours
Assessment : 60 hours
Independent : 50 hours

Assessment

Portfolio 1 Script of3000 word equiv
Weighting             : 100%
Workload              : 60 hrs
Issue Week          : 1
Submission Week : 13
Return Week        : 17
Associated Learning Outcomes :
Assessment Tutor : Paul Harris (P511087)


 
 
 


Additional Assessment Information
Portfolio comprising: treatment, synopsis, production documents, storyboard where appropriate, critical appraisal/analysis.

Additional Tutors :

Supportive Reading
Cartwright, Steve R. 1996 Pre-production Planning for Video, Film and Multimedia Focal Press
Yewdall, David Lewis. 2003 Practical Art of Motion Picture Sound Focal Press
Andersson, Christoffer 2005 Mobile Media and Applications - From Concept to Cash: Successful Service Creation and Launch. John Wiley and Sons

Specialist Resources
Internet and library access.

Teachability Issues for this module are :
Oral,Visual,Symbolic,Aural,Reading,Writing

Key Transferable Skills for this module are :
Communication,Problem Solving,Research,Self Evaluation,Planning

Module Code : AG1064A
Module Title  : Professional Practice

Principal Domain : Institute of Arts, Media and Games
Principal Division : Arts and Games      Weighting : 100%

Level : 10
SCQF Credits : 30
Status : Approved School Executive
Semester : Semester 1 through 2     Academic Session : 2011/2
Last Updated : 30/05/11 By Wendy Robb

Pre-requisites :  
Co-requisites :  
Replaced Modules :  
Prohibited Combinations :  


Module Tutor : SLOAN ROBIN (R514368)

Brief Description
Professional planning and presentation of creative projects

Aim
The ability to devise, monitor and progress large projects on an individual and team basis and communicate ideas in a professional manner.

Learning Outcomes
By the end of this module the student should be able to :
1. Structure a plan for the execution of a substantive creative project based on an area of personal research
2. Communicate and defend the ideas of a creative project, demonstrating in depth analysis of theories and concepts in support of its development
3. Collaborate with a team in the planning and execution of a large scale exhibition

Indicative Content

1. Define a project
Devise the project brief for the honours project by defining a research domain and refining a research question. Explain the importance of the brief in defining the project.
2. Create a structure relating aims,objectives and tasks
Determine the necessary objectives and tasks required to achieve the project aims. Create a structure that identifies the relationships between them.
3. Planning Documentation
Create appropriate planning documenation and create a gantt chart to identify timescales,deadlines and tasks which lie on the critical path.
4. Communication and Documentation
Explain and demonstrate the importance of documentation in terms of communication, traceability,teamworking and quality systems
5. Monitoring a plan
Develop strategies for executing a project within the framework of the project plan
6. Problem solving
How to identify potential problems and develop alternate strategies.
7. Project Management and Quality
Explain the relation between project management and quality.
8. Project Management and Man Management
Collaborate in a large group and participate pro- actively in the generation of a large scale exhibition
9. Professional Presentation
Develop professional presentations through a process of progressive interim expositions
10. Professional Practice
Demonstrate a pro active response to meetings and other acivities associated with the professional execution of the project

Statement on Teaching, Learning and Assessment
A mix of labs and workshops throughout the module with formal presentations through second semester and final presentations of research findings and project deliverables. 60% of learner contact time will be spent in active enquiry or project work. Students will identify and progress directions for enquiry, evaluating and synthesising complex management issues In second semester the student cohort will form a self regulating organisation to create the final exhibition, thus developing collaborative skills, functioning as a member of a team, determining roles within team, contribute to individual knowledge and to the progress of the team and reflecting on the effectiveness of the team and/or their own contribution to it. Students wil access independantly, 60% of the core subject content with opportunities to evaluate, share and comment on, as well as to use, those sources and to contribute to the development of new resources.

Teaching and Learning Workloads :

Total : 300 hours
Lecture : 20 hours
Tutorial/Seminar : 40 hours
Supervised Practical Activity : 40 hours
Assessment : 100 hours
Independent : 100 hours

Assessment

Project Create plans and reports
Weighting             : 50%
Workload              : 50 hrs
Issue Week          : 1
Submission Week : 16
Return Week        : 18
Associated Learning Outcomes :
Assessment Tutor : Brian Robinson (B511075)

2 Reflective Log Diaries and reports
Weighting             : 40%
Workload              : 40 hrs
Issue Week          : 1
Submission Week : 35
Return Week        : 38
Associated Learning Outcomes :
Assessment Tutor : Brian Robinson (B511075)

Presentation Final Presentation
Weighting             : 10%
Workload              : 10 hrs
Issue Week          : 1
Submission Week : 35
Return Week        : 38
Associated Learning Outcomes :
Assessment Tutor : Brian Robinson (B511075)
 
 
 


Additional Assessment Information
Student project work is conducted over the course of the module and formative feedback is given throughout both semesters. There are additional pitches and critique of the work to staff and peers in week 4 and 8 of semester 1 and 2. Feedback is also given by staff and peers at the final presentations.

Additional Tutors :

Supportive Reading
Meredith,J.R. and Mantel,J.R. 2000 Project Management Quebecor Printing:N.York
Chatfield,C.S. and Johnson,T.D. 2000 Microsoft Project 2000 Microsoft Press:Washington


Specialist Resources
A room with microsoft project and seating for 40 students and suitable for presentations via pc and data projector

Teachability Issues for this module are :
Oral,Visual,Aural,Diagrammatic,Computer Based,Reading,Writing,Collaboration

Key Transferable Skills for this module are :
Communication,Enterprise,Team Work,Problem Solving,Research,Self Evaluation,Planning,Interpersonal,Leadership,Professionalism

Module Code : AG1087A
Module Title  : Research Methods and Dissertation

Principal Domain : Institute of Arts, Media and Games
Principal Division : Arts and Games      Weighting : 100%

Level : 10
SCQF Credits : 30
Status : Approved School Executive
Semester : Semester 1 through 2     Academic Session : 2011/2
Last Updated : 06/04/11 By Wendy Robb

Pre-requisites :  
Co-requisites :  
Replaced Modules :  
Prohibited Combinations :  


Module Tutor : Colin Cartwright (C510749)

Brief Description
This module will approach research as a disciplined inquiry that leads to publicly verifiable outcomes that are open to peer appraisal, and seeks to develop a treatise advancing a new point of view resulting from this.

Aim
The aim of this Module is to provide the student with : An introduction to the spectrum of available research resources and their appropriate interrogation for the purpose of referencing and informing personal artistic practice, and the use of this material to develop written academic communication skills and deliver a successful summative project report that demonstrates critical appraisal.

Learning Outcomes
By the end of this module the student should be able to :
1. Demonstrate the capacity for critical, effective and testable information retrieval and organisation.
2. Design and carry out a research project with limited tutorial guidance.
3. Analyse, evaluate critically and interpret one's own work in the context of the subject domain.

Indicative Content

1. Question Development
How to develop a clearly-articulated research question and a related series of objectives that enable the question to be addressed through the research.
2. Planning
Develop the specification of a research context for the questions, and a rationale for why it is important that these particular questions should be answered or explored, and put in place a strategy to find pertinent information rapidly.
3. Information gathering
Identify and gather relevant information that casts light on the key questions.
4. Analysis
Critical analysis of the research sources and their use as providers of evidence, models of arguments, forms of analysis and as rhetorical moves used in the field.
5. Synthesis
Identify the 5 elements of a research argument.
6. Evaluation
Build an argument that motivates the reader to accept the claim and how to anticipate critical reservations and respond appropriately.
7. Research context
Correct structuring for a research proposal and a literature review.
8. Dissertation purpose
The construction of a piece of formal written work that will address the research question set within its own academic context and which addresses the project aims and objectives.
9. Dissertation Writing
Referencing and citing work correctly. Plagiarism and how to avoid it.
10. Presentation
The dissertation will be written in a style that is appropriate for a formal written thesis, and will be formatted and professionally presented according to the guidance given in the honours project manual.

Statement on Teaching, Learning and Assessment
This module seeks to introduce students to the idea that practical project work at Honours level is to be viewed as a form of investigation i.e. there is an intent that is declared and can be evaluated. Within a lecture setting the module covers the techniques that can be used to identify a suitable project topic and the methods of searching for appropriate literature to clarify and verify the choice of topic The lectures then cover the various aspects of research methods and the forms of evidence that can be gathered through the practical work of the project itself i.e. the purpose of the project artifact is clarified and understood. The lectures are supported by weekly tutorials that allow students from the various Programmes to sound out their concepts at an early stage in a supportive environment. Ultimately the students prepare a project proposal and subsequently a project dissertation which form the assessment of this module Timetable Information: 1 hour lecture per week for the whole of semesters 1 and 2 with the whole class in a room with a data projector 3 x 1 hour seminar/tutorial classes per week for the whole of semester 1 in a seminar room (10-15 seats)

Teaching and Learning Workloads :

Total : 300 hours
Lecture : 20 hours
Tutorial/Seminar : 40 hours
Assessment : 180 hours
Independent : 60 hours

Assessment

Report 1 3000 word proposal
Weighting             : 34%
Workload              : 60 hrs
Issue Week          : 2
Submission Week : 13
Return Week        : 38
Associated Learning Outcomes :
Assessment Tutor : Colin Cartwright (C510749)

2 Dissertation 2 6000 words
Weighting             : 66%
Workload              : 120 hrs
Issue Week          : 2
Submission Week : 33
Return Week        : 38
Associated Learning Outcomes :
Assessment Tutor : Colin Cartwright (C510749)

 
 
 


Additional Assessment Information
The research proposal takes the form of a report which includes a literature review to set the context of the proposed project. The dissertation should be regarded as a stand-alone document which summarises the project in terms of its background, conduct and conclusions.

Additional Tutors :
SPEAKER GUEST (GUEST)
GUEST

Supportive Reading
Gray et al 2004 Visualizing Research Ashgate
Punch 2003 Introduction to Social Research: Quantitative and Qualitative Approaches Sage Publications Ltd
Berger 1998 Media Research Techniques Sage Publications Ltd

Specialist Resources
Internet and library access.

Teachability Issues for this module are :
Oral,Reading,Writing

Key Transferable Skills for this module are :
Communication,Research,Self Evaluation,Planning,Professionalism