COURSE INTRODUCTION AND APPLICATION INFORMATION

Course Name
Sound and Music Design
Code
Semester
Theory
(hour/week)
Application/Lab
(hour/week)
Local Credits
ECTS
CDM 336
Fall/Spring
2
2
3
5
Prerequisites
 CDM 232To succeed (To get a grade of at least DD)
Course Language
English
Course Type
Elective
Course Level
First Cycle
Mode of Delivery face to face
Teaching Methods and Techniques of the Course Discussion
Problem Solving
Q&A
Application: Experiment / Laboratory / Workshop
Lecture / Presentation
Course Coordinator
Course Lecturer(s)
Assistant(s) -
Course Objectives Students will learn to produce a short film/video with a creative soundtrack.
Learning Outcomes The students who succeeded in this course;
  • discuss how image and sound work together
  • discern various methods of using sound and music in cinema
  • make field and voice recording
  • produce creative work with recorded material
  • operate basic audio mixing and processing techniques
  • create a soundtrack
Course Description This course will start out with a discussion of how sound cooperates with the image track. The understanding is that sound affects the way the image track is perceived and vice versa. Samples from films and video works will be analyzed. Students are expected to be able to develop their own styles in combining image and sound in a term project.
Related Sustainable Development Goals

 



Course Category

 Core Courses
Major Area Courses
Supportive Courses
X
Media and Managment Skills Courses
Transferable Skill Courses

 

WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES

Week Subjects Required Materials
1 Introduction to the course. / Screening: Playtime (1967) by Jacques Tati
2 A brief history and basic terms of sound and music in film. / Basics of sound editing. / Screening: Berberian Sound Studio (2012) by Peter Strickland. Leo Murray; “Audiovisual theories of sound” in Sound Design Theory and Practice: Working with Sound (2019, Routledge)
3 Audio analysis of several film clips in class. / Creating a sound library in an editing project. David Bordwell and Kristin Thompson; Fundamental Aesthetics of Sound in the Cinema
4 The voice in cinema. Dialogue, monologue, narration and acousmêtre. Post-synchronization. / Applied study of synchronisation and dubbing. / Screening: clips from Lost Highway (1997) by David Lynch, Annie Hall (1977) and New York Stories (1989) by Woody Allen Michel Chion; “Raising the Voice” in The Voice in Cinema
5 Foley, ambience and effects. Creating a soundscape. Using noise and silence. / Foley training. / Screening: The Secret World of Foley (2014) by Daniel Jewel Practical Exercise: Dub a scene of your choice.
6 Music in cinema. Film scoring and music supervision. / Finding and working with temporary music tracks. Bring a selection of music tracks you would like to use.
7 Music videos and other examples of visual productions based on sound. / Editing for music and sound.
8 Diverse practices in sound design. Sensorial cinema. Sound space. Sound design for VR. / Mixing basics. / Screening: Leviathan (2012) by Lucien Castaing-Taylor, Verena Paravel Practical Exercise: Found footage edit on a music track.
9 Discussions on students’ projects Bring your choice of sequences.
10 Imagining the sound. Audio-scripting. / Analysis and audio-breakdown of a sequence. David Lewis Yewdall; “Success or Failure: Before the Camera Even Rolls” in Practical Art of Motion Picture Sound (2012, Elsevier)
11 Directing for the sound. Tips on location sound recording. / Working on students’ projects. / Screening: Blow Out (1981) by Brian De Palma
12 Sound and music in Turkish Cinema. Screening of several film clips from early to contemporary Turkish cinema. / Working on students’ projects. Erdogan, Nezih. “Mute bodies, disembodied voices: notes on sound in Turkish popular cinema.”
13 Sound post production. Working and communicating with sound designers, composers and re-recording mixers. / Working on students’ projects.
14 Reviewing students’ projects. Finalizing students’ projects.
15 Review of the semester Molloy, Maureen. "Death and the Maiden: The Feminine and the Nation in Recent New Zealand Films". Signs, Vol. 25, No. 1 (Autumn, 1999), University of Chicago Press. pp.153-170.
16 Review of the final projects
Course Notes/Textbooks

David Lewis Yewdall; “Success or Failure: Before the Camera Even Rolls” in Practical Art of Motion Picture Sound (2012, Elsevier) ISBN: 978-0240812403

 

Chion, Michel. Audio-Vision: Sound on Screen (1994, Columbia University Press) 978-0-231-07899-3 

 

Chion, Michel. The Voice in Cinema (1999, Columbia University Press) 978-0231108232

 

Murray, Leo. Sound Design Theory and Practice: Working with Sound (2019, Routledge) 978-1138125414  


Altman, Rick. Sound Theory / Sound Practice (1992, Routledge) 978-0415904575
Suggested Readings/Materials

 

EVALUATION SYSTEM

Semester Activities Number Weighting
Participation
1
10
Laboratory / Application
Field Work
Quizzes / Studio Critiques
Portfolio
Homework / Assignments
1
20
Presentation / Jury
1
40
Project
Seminar / Workshop
Oral Exam
Midterm
1
30
Final Exam
Total

Weighting of Semester Activities on the Final Grade
4
100
Weighting of End-of-Semester Activities on the Final Grade
Total

ECTS / WORKLOAD TABLE

Semester Activities Number Duration (Hours) Workload
Course Hours
(Including exam week: 16 x total hours)
16
2
32
Laboratory / Application Hours
(Including exam week: 16 x total hours)
16
2
Study Hours Out of Class
14
2
28
Field Work
Quizzes / Studio Critiques
Portfolio
Homework / Assignments
1
12
Presentation / Jury
1
32
Project
Seminar / Workshop
Oral Exam
Midterms
1
14
Final Exams
    Total
150

 

COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP

#
 Program Competencies/Outcomes
* Contribution Level
1
2
3
4
5
1

To be able to have fundamental knowledge about narrative forms in cinema, digital and interactive media, and the foundational concepts relevant to these forms.
2

To be able to create narratives based on creative and critical thinking skills, by using the forms and tools of expression specific to cinema and digital media arts.

 X
3

To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media.

 X
4

To be able to perform skills such as scriptwriting, production planning, use of the camera, sound recording, lighting and editing, at the basic level necessary for pre-production, production and post-production phases of an audio-visual work; and to perform at least one of them at an advanced level.

 X
5

To be able to discuss how meaning is made in cinema and digital media; how economy, politics and culture affect regimes of representation; and how processes of production, consumption, distribution and meaning-making shape narratives.
6

To be able to perform the special technical and aesthetic skills at the basic level necessary to create digital media narratives in the fields of interactive film, video installation, experimental cinema and virtual reality.

 X
7

To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives.
8

To be able to participate in the production of a film or digital media artwork as a member or leader of a team, following the principles of work safety and norms of ethical behavior.

 X
9

To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments.

10

To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media.
11

To be able to use a foreign language to communicate with colleagues and collect data in the field of cinema and digital media. ("European Language Portfolio Global Scale", Level B1).
12

To be able to use a second foreign language at the medium level.
13

To be able to connect the knowledge accumulated throughout human history to the field of expertise.

*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest