| Course Name | Music and Sound Design in Film |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| MCS 441 | Fall/Spring | 3 | 0 | 3 | 4 |
| Prerequisites | None | |||||
| Course Language | English | |||||
| Course Type | Elective | |||||
| Course Level | First Cycle | |||||
| Mode of Delivery | - | |||||
| Teaching Methods and Techniques of the Course | DiscussionGroup WorkApplication: Experiment / Laboratory / WorkshopLecturing / Presentation | |||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | This course aims to develop the students' ability to use the most meaningful sound tools at the stage of 'Creating the right emotion-thought and directing the targeted message to the behaviors' through the media by creating a general awareness of music culture. |
| Learning Outcomes | The students who succeeded in this course;
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| Course Description | This course is all about music and music culture. Understanding and using the definition of music, its effect on human mind, defining musical genres and common strategies used when adding music to a moving image; It covers learning the distinctive importance of music in new media tools. |
| Related Sustainable Development Goals | |
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| Core Courses | |
| Major Area Courses | ||
| Supportive Courses | X | |
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Introduction to course: What is music? Welcome to the parallel universe! Basic elements that compose music: Sound. Does music run the world? Silent cinema– Charlie Chaplin | Hand-delivered text, Selection of work, Video selection |
| 2 | The Spine of Musical Body - Sound: Pitch: Dynamics, Tone color, Performing Media: Voices, Instruments, Rhythm, Music notation, Melody. | |
| 3 | Music and Emotions. The effect of vocal/lyrics in music. Instrumental music. Acapella sound . Relationship between music and emotion/ Thought-emotion-behavior/ Music is in a very critical position! | |
| 4 | Transition from nature to permanent settlement. A general development of music history from prehistory to the present (the effects of anthropology, geography, myths and religion on the development of art) The invisible but inevitable links between the visual arts-performing arts and music. What is art? Is media (new media) art? | |
| 5 | World music culture. Common music kinds? Detailed study and explanation about the first project. 1 music – 1 image 1 image– 1 sentence 1 sentence – 1 product Thought: Idea, target Emotion: Tool for directing to thought -artistic element. Behavior: Create a request to do the action. Basic psychological behavior sequence. | |
| 6 | The Importance of Music in New Media What was music again please? What is new media? Can we start over? Music in media – Music competes badly with other elements in the media. Reviewing a wide selection of music-media. | |
| 7 | The sound of silent films: Music The sound of sound films: Music again Lesser known film music: Who is Jan A.P. Kaczmarek? So, do you know Ennio Morricone, Joe Hisaishi, Ar Rahman? (Hans Zimmer ve John Williams are students’ keeping) | |
| 8 | Presentation of First Individual Preojects | |
| 9 | Birth of music, a glance to the prehistory. Introduction to Western music history . Medieval Music. Gregorian Music - Divine Calling. Notre Dame School- Ongoing Tempo. 14. century music- Art is being reshaped in every field in Italy and France. F. Landini, G. Machaut | |
| 10 | Time Travel to Europe Renaissance Music J. Deprez Palestrina, Sacred Voices– Vocal and Instrumental, Venice School – From Reanassance to Baroque. | |
| 11 | And the magnificent Baroque Era Relationship with architecture. What is Baroque? Overview on classical music works used in visual media. | |
| 12 | Neverending comparison between Classical music and jazz music. G. Gershwin – Rhapsody in Blue-Disney Fantasia 2000. Detailed study and explanation about the second project (group study). Assigning the groups. Shorts. A selection of original or ready-made compositions. Symbolic or direct message. At least three different music-emotion version. | |
| 13 | Only music . Only media. Two different senses: Audince and Vision. Fundamental elements in creating process. Some Turkish composers and their works that become integrated with visual art. İ. Taviloğlu, M. Kibar, T. Işıklı, C. Berkay. | |
| 14 | Subjects, concepts, outcomes… Revision draft reviews of second projects. Planning about exhibition content. | |
| 15 | Semester Review | |
| 16 | Final Exam |
| Course Notes/Textbooks | Kalinak, Kathryn Film Music: A Very Short Introduction Oxford University Press, 2010 -Prendergast, Roy M. Film Music: A Neglected Art (Second Edition) W.W.Norton & Company, 1992 |
| Suggested Readings/Materials | Every week’s readings and lectures will be accompanied with relevant web sources that will be announced by the lecturer and students in course web-blog. |
| Semester Activities | Number | Weigthing |
| Participation | 1 | 10 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | ||
| Presentation / Jury | ||
| Project | 1 | 45 |
| Seminar / Workshop | ||
| Oral Exam | 1 | 15 |
| Midterm | ||
| Final Exam | 1 | 30 |
| Total |
| Weighting of Semester Activities on the Final Grade | 3 | 70 |
| Weighting of End-of-Semester Activities on the Final Grade | 1 | 30 |
| Total |
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Course Hours (Including exam week: 16 x total hours) | 16 | 3 | 48 |
| Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | ||
| Study Hours Out of Class | 14 | 2 | 28 |
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | |||
| Presentation / Jury | |||
| Project | 2 | 12 | |
| Seminar / Workshop | |||
| Oral Exam | 1 | 10 | |
| Midterms | |||
| Final Exams | 1 | 10 | |
| Total | 120 |
| # | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
| 1 | To be able to critically discuss and interpret the theories, concepts and ideas that form the basis of the discipline of new media and communication. | X | ||||
| 2 | To be able to critically interpret theoretical debates concerning the relations between the forms, agents, and factors that play a role in the field of new media and communication. | X | ||||
| 3 | To have the fundamental knowledge and ability to use the technical equipment and software programs required by the new media production processes. | |||||
| 4 | To be able to gather, scrutinize and scientifically investigate data in the processes of production and distribution. | |||||
| 5 | To be able to use the acquired theoretical knowledge in practice. | |||||
| 6 | To be able to take responsibility both individually and as a member of a group to develop solutions to problems encountered in the field of new media and communication. | |||||
| 7 | To be informed about national, regional, and global issues and problems; to be able to generate problem-solving methods depending on the quality of evidence and research, and to acquire the ability to report the conclusions of those methods to the public. | |||||
| 8 | To be able to critically discuss and draw on theories, concepts and ideas that form the basis of other disciplines complementing the field of new media and communication studies. | X | ||||
| 9 | To be able to develop and use knowledge and skills towards personal and social goals in a lifelong process. | X | ||||
| 10 | To be able to apply social, scientific and professional ethical values in the field of new media and communication. | X | ||||
| 11 | To be able to collect datain the areas of new media and communication and communicate with colleagues in a foreign language ("European Language Portfolio Global Scale", Level B1). | |||||
| 12 | To be able to speak a second foreign language at a medium level of fluency efficiently. | |||||
| 13 | To be able to relate the knowledge accumulated throughout the human history to their field of expertise. | |||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
