Unit convenor and teaching staff |
Unit convenor and teaching staff
Unit Convenor
Helen Wolfenden
Contact via Helen Wolfenden
TBA
TBA
Radio Facilities Manager
Peter Ring
Contact via peter.ring@mq.edu.au
Helen Wolfenden
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Credit points |
Credit points
3
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Prerequisites |
Prerequisites
(39cp at 100 level or above) including (MAS207 or MAS337 or MUS203)
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Corequisites |
Corequisites
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Co-badged status |
Co-badged status
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Unit description |
Unit description
This unit extends previous units of radio and audio production, developing an advanced understanding of audio for a variety of creative media practices. Students work with contemporary production platforms, consolidating techniques introduced in earlier units (radio, music, screen production, multimedia). The unit completes a pathway in radio, and caters for students of multimedia, screen and music production wishing to create sound design and audio-rich projects relating to their specialist interests. Students can complete a major project in radio (a documentary feature, performance, experimental or music-sound theatre work) or in any of the aforementioned areas of production–working to construct their own creative works or soundtracks, or realising new forms through interdisciplinary collaboration. Critically, this unit provides students with a sophisticated understanding of the powerfully affecting sonic dimension; how the auditory functions in audio/audio-visual media and other performance forms. Sound is considered with attention to its cultural and historical expression, the experience of reception and how meaning is constructed in a variety of works and contexts. Lectures extend and challenge students' knowledge of auditory culture and its formal developments; advanced production sessions build sophisticated levels of competency using a range of facilities and equipment.
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Information about important academic dates including deadlines for withdrawing from units are available at https://www.mq.edu.au/study/calendar-of-dates
On successful completion of this unit, you will be able to:
Name | Weighting | Hurdle | Due |
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1. Audio Tour Creation | 30% | No | Sept 13: Week 7 |
2. Written Reflection | 25% | No | Oct 4 |
3. Creative sound work/design | 45% | No | Nov 10 |
Due: Sept 13: Week 7
Weighting: 30%
In pairs, students devise, record and compose an audio tour for headphone listening. Students can also regard this production as being one episode, or segment of a potentially longer audio tour of a place or of events that occurred in that place. The tour can be based on reality or entirely imagined. A commentary (voiced text) with sounds/field recordings, sounds effects and possibly other voices should be included; then the piece constructed using appropriate audio software. Bin-aural recording is demonstrated along with stereo recording using a range of microphone types. Other approaches and techniques are taught in class. Examples will be auditioned in lectures and workshops and homework listening is also required to familiarize yourself with the genre. Examples will be available via links in iLearn. Final duration should be 6-8 minutes, although this can be negociated with your tutor depending on the type of project. NB: Each student should provide a written reflection on this task (max 800 words) with explanation of your separate roles and provide scripts you have worked on. This reflection will explore your individual contribution, and your response to the outcome of this production. The reflection should also cite examples of audio tours and audio tours made for radio that you listened to and found useful in relation to your project.
NB: Marks for this assignment will thus be assessed individually, with 50% an individual mark, and 50% a group mark.
Students may also consider this exercise as a sketch which can be built upon for their major work (chosen for Assign 3), but this must be discussed with your Tutor, and approved before proceeding. In this case a final audio tour will be substantially longer/more complex than this introductory assignment.
Submission: Submit Reflections individually via Turnitin (accessible on iLearn) by Friday Sept 15, 20.00hrs. Submit audio by Sept 12 19.00hrs to DAWS/ISIS Server as per instructions in class (from Peter Ring) for audition in Wednesday class Sept 13.
Assignment is graded according to a rubric.
Grading Criteria:
Due: Oct 4
Weighting: 25%
Written reflection/essay (2000 words) of a radio feature/drama or sound design for screen/online or major media production or audio art work or exhibition/performance. Describe and reflect on how the sound design works in its context; how powerful is the sound design? Use three references from readings list to assist in your analysis. It might be advantageous to analyze/discuss a sound design which relates to the form you wish to pursue for Assignment 3. If you are doing an audio tour, then use this as an opportunity to discuss one or two good recent examples. If you are making a creative radio feature or drama, or feature film (sound design), likewise try and choose an example of one of these genres.
This assignment will be assessed according to a rubric.
Grading Criteria:
Individual Assignment. Questions/topics to be distributed via ilearn.
Submission: Via Turnitin on iLearn Week 8, Oct 4 before 23.59hrs. Please use double spacing, 12 pt font. Full student details on First page. References not included in word count.
Due: Nov 10
Weighting: 45%
Students will work on projects or on individual components of a larger project: TBA (each year) Egs include a radio documentary, drama, series, experimental work: (length max 20'); or sound design for a screen production (no durational limit, must be approved/and student can work on another student's screen production as sound designer as long as this is not credited for another unit) or sound design for other media production or site specific artistic work. Other options may be available depending on demand/justification. Discussion of projects will take place in Week 3. All assignments will need to be agreed to by Tutor before commencement. There will also be an option to create work for a live radio program: please attend lectures in Week 1 - 3 for more details. Part of the assessment of this project will be for the provision of a synopsis in Week 9 (1 page); and an ongoing diary outlining your progress and developing ideas (from Week 8).
Submission: Audio to be ready for auditioning in last class in Week 13. After feedback from this class you can make your final submission of your audio (wav file, not ProTools project) and written documentation by Friday November 10, 24.59hrs. Audio submission as per Assignment 1. Reflection upload to Turnitin via iLearn with your project title and student details.
Assignment is graded according to a rubric.
Grading Criteria: Three main areas to be assessed are i) the content/ideas; ii) approach/presentation; iii) the technical. Within these areas, grades will be based on aspects such as:
This unit aims to allow the student to extend all audio/radio production skills acquired in MAS337 and concentrate on a major creative production (for radio if desired). It is also aimed at expanding the radio student's awareness beyond radio. In addition, this unit is aimed at students with an interest in sound, coming via other creative or production streams: for example from screen production, multimedia, music, other. Taking into consideration students' interests, participants in this unit will be introduced to more advanced forms of recording in the field, microphone technique and usage of sound effects and musical synthesis (applicable to screen productions and sound design). Set assignments for the unit may vary year to year depending upon student specialist interest for that year.
The unit requires you to purchase:
1) One set of reasonable quality semi-open or closed headphones (compulsory for each student, due to Health & Safety regulations).
NB: Suggested Readings are made available via links to the library, occasionally in Workshops.
The unit uses the following technology:
ilearn, ProTools Audio software on Apple computers (in Radio Lab), a range of portable audio recorders and microphones, the radio studio and control room facilities, one of the two music studios.
Information regarding Remarking
Re-Marks: The in-session re-mark application form is available at http://www.mq.edu.au/pubstatic/public/download/?id=167914
Web radios and audio sites of interest
These sites will be of use in research for your Assign 2, or as sites where you can access creative audio examples.
ABC RN's documentaries program: Earshot: http://www.abc.net.au/radionational/programs/earshot/
'Earshot is about people, places, stories and ideas, in all their diversity.'
ABC (other) programs, now podcast only, where creative work can be heard:
ABC's former prestige audio documentary programs: 360 Documentaries: http://www.abc.net.au/rn/360/ and
Radio Eye: http://www.abc.net.au/radionational/programs/radioeye/past-programs/
Radiotonic: http://www.abc.net.au/radionational/programs/radiotonic/past-programs/ (the next two from Radiotonic highly reccommended)
http://www.abc.net.au/radionational/programs/radiotonic/radio-yak-tim-hinman/5979046
http://www.abc.net.au/radionational/programs/radiotonic/radio-yak-jonathan-goldstein/5916292
Sound Music Word on ABC RN: http://www.abc.net.au/radionational/programs/soundmusicword/past-programs/
egs Virginia Madsen's work can be heard here: http://www.abc.net.au/radionational/programs/soundmusicword/in-search-of-the-mekong-blues/5110730
http://www.abc.net.au/radionational/programs/soundmusicword/dark-room/4547256
http://www.abc.net.au/radionational/programs/soundmusicword/scenes-from-the-garden-of-wild-things/4561536
Try also
RN's Pocket docs: http://www.abc.net.au/radionational/programs/pocketdocs/
RN's Soundproof (ex Creative Audio Unit of the ABC): http://www.abc.net.au/radionational/programs/soundproof/
Arte-Radio (in French: radio arm of European cultural channel) http://www.arteradio.com/ (very interesting to look at and some works available not dependent on knowing French, eg BBC co-produced drama ‘Déjà vu’
American Public Radio works http://americanradioworks.publicradio.org/
Australian Sound Design Project: http://www.sounddesign.unimelb.edu.au/site/index1.html
http://www.batteryradio.com/
BBC (UK) radios http://www.bbc.co.uk/radio/
http://www.bbc.co.uk/radio3/betweentheears/
http://www.cbc.ca/thewire/
http://www.ears.dmu.ac.uk/
In the Dark (UK based radio storytelling) collective: http://www.inthedarkradio.org
“[In The Dark] is all about listening in new ways” Time Out; In The Dark is a collaborative project between a new generation of radio producers and radio enthusiasts. They "aim to create a mini-revolution in the way people think about spoken-word radio by lifting it out of its traditional settings and celebrating it in new and exciting ways." Over the last five years they have commissioned new works from producers around the world, and staged countless live listening events at festivals, theatres, cinemas and museums, egs: Bristol, Manchester and Belfast, and have teams in Australia, Belgium and Germany. As they say on their website: "We firmly believe that sound tells the best stories."
Radiotopia site: best of USA podcasts. https://www.radiotopia.fm
Paper radio: http://www.paperradio.net (interesting independent group from Melbourne)
fbi's All the Best radio program: http://allthebestradio.com
http://www.echoarchive.com/
http://www.uni-weimar.de/cms/en/media/experimentelles-radio/home.html
http://radiomentale.wordpress.com/
National Public Radio (USA): http:///www.npr.org
http://new-radio.org/
http://www.phonurgia.org/
http://www.transradio.org
http://www.sonicpostcards.org/
http://www.wbez.org/programs/odyssey/odyssey_senses.asp
http://www.waxsm.com.au
http://www.sonicmemorial.org/sonic/public/index.html
Third Coast Radio festival http://www.thirdcoastfestival.org/
Third Coast Archive: Resound http://www.thirdcoastfestival.org/re-sound.asp
Transom: a showcase and workshop for new public radio (useful to students):
http://www.transom.org/
http://www.museereattu.arles.fr/rencontre_avec_kaye_mortley-94-03.html
New Radio& Performing Arts Inc http://new-radio.org/
http://phonography.org/phonographers.htm
http://www.soundwalk.com/#/ABOUT/
http://turbulence.org/
http://www.wemfmedia.org/
http://www.ubu.com/sound/radio_radio/index.html
http://www.medienkunstnetz.de/works/wdr-studio/http://www.ubu.com/sound/
http://www.soundartradio.org.uk/
http://www.ousopo.info/
http://www.cbc.ca/ideas/index.html
American radio documentaries: Sound Portraits http://soundportraits.org/
http://www.hearingvoices.com/
https://www.radiotopia.fm/
Radiolab: http://www.radiolab.org
Resonance FM http://resonancefm.com/
2SER http://www.2ser.com/
Sirius satellite radio http://www.sirius.com/
http://www.cbc.ca/ideas/index.html
http://www.birst.co.uk/
http://www.wnyc.org/
http://www.sysx.org/soundsite/
http://www.youngjournalistawards.org.au/
http://www.npr.org/programs/lnfsound/
http://www.studio360.org/
http://www.soundsnap.com/
http://www.abc.net.au/innovation/sidetracks/default.htm
http://www.myspace.com/bbcradiophonicworkshop
http://archives.cbc.ca//
http://www.archive.org/details/pacifica_radio_archives
http://beta.wnyc.org/shows/fromthearchives/2007/sep/01/
http://sitesandsounds.net.au/?p=202
http://www.archivesforcreativity.com/about.aspx
http://www.isaw.info/sm/
http://radia.fm/
http://www.myspace.com/artacousmatique
http://soundlab.newmediafest.org/blog/
http://filmsound.org/
http://www.naisa.ca/RWB/#sked
UBU Web radio http://www.ubu.com/sound/radio_radio/index.html
http://www.sfu.ca/~truax/wsp.html (World Soundscape project)
http://www.bbc.co.uk/worldservice/specialreports/saveoursounds/index.shtml
http://www.oreilleverte.com/www/
http://www.wildsanctuary.com/
http://www.acousticecology.org/
http://www.soundtransit.nl/
http://accent.gmu.edu/index.php
http://www.freesound.org/
http://www.cardiffmiller.com/artworks/walks/missing_voice.html
http://www.abc.net.au/rn/intothemusic/features/localportraits/default.htm
World Radio Network: http://www.wrn.com
Blogs, other useful sites and Sound Tools
http://audacity.sourceforge.net/download/
http://designingsound.org
http://filmsound.org
Transom (ex USA) Amazing useful site for everything in radio, podcasting... http://transom.org/
BOOKS/READINGS OF INTEREST |
(Highly relevant)
Abel, Jessica. Out on the wire: the storytelling secrets of the new masters of radio; foreword by Ira Glass. New York : Broadway Books, 2015
Alten, Stanley. Audio in Media. Belmont CA: Wadsworth. (library) (The bible of audio production for those really serious about sound)
Bandt, Ros; Duffy, Michelle., MacKinnon, Dolly. Hearing places: sound, place, time and culture; Newcastle, U.K. : Cambridge Scholars, 2007
Barnard, Stephen. Studying Radio. New York: Hodder Headline/Arnold. 2000
Beaman, Jim. Programme making for radio. London & NY: Routledge, 2006
Biewen, John (Ed) Reality radio: telling true stories in sound; Chapel Hill: University of North Carolina Press ; Durham, N.C.
Bijsterveld, Karin. Mechanical sound : technology, culture, and public problems of noise in the twentieth century/ Cambridge, Mass.: MIT Press, 2008
Birdsall, Carolyn and Enns, Anthony (editors).Sonic mediations - body, sound, technology; Newcastle: Cambridge Scholars, 2008
Bull, Michael. Sound studies : critical concepts in media and cultural studies; Abingdon, Oxon; New York, NY: Routledge, 2013
Chion, Michel. Sound : an acoulogical treatise ; translated and with an introduction by James A. Steintrager. Durham Duke University Press, 2016
Chion, Michel: Audio Vision: Sound on Screen, Columbia Uni. Press 1994.
Chion, Michel: Film, a sound art; translated by Claudia Gorbman. [English ed.]., New York; Chichester: Columbia University Press, c2009
Collins, Karen: Game sound: an introduction to the history, theory, and practice of video game music and sound design Cambridge, Mass. ; London : MIT, 2008
Crisell, Andrew. More Than A Music Box, Berghahn 2006
Crisell, Andrew. Ed. Radio (3 Vols). Routledge, London 2009.
Dowsett, Peter. Audio production tips: getting the sound right at the source; New York: Focal Press, 2016
Dyson, Frances. The tone of our times : sound, sense, economy, and ecology, Cambridge, MA: MIT Press, 2014
Erlmann, Veit. Reason and resonance : a history of modern aurality; New York: Zone Books ; Cambridge, Mass. MIT Press, 2010
Fleming, Carole. The Radio Handbook. London: Routledge, 2010
Hausman, Carl et al. Modern Radio Production. Production, Programming, and Performance. Belmont CA: Wadsworth/Thomson Learning, 2006.
Hendy, David. Radio in the Global Age. Cambridge: Polity Press, 2000.
Ikoniadiou, Eleni.The rhythmic event: art, media, and the sonic / Cambridge, Massachusetts MIT Press, 2014
Ioanna Kouvaras, Linda . Loading the silence: Australian sound art in the post-digital age;Farnham, Surrey ; Burlington, VT: Ashgate Pub., 2013
Keith, Michael. The Radio Station. London: Focal Press, 2000.
Kelly, Caleb. Cracked media: the sound of malfunction / Cambridge, Mass.: MIT Press, 2009
Kramer, Mark & Wendy Call (Eds). Telling True Stories, NY: Plume 2007
LaBelle, Brandon. Background noise : perspectives on sound art / New York : Continuum International, 2006
LaBelle, Brandon. Acoustic territories: sound culture and everyday life; New York : Continuum, 2010
Loviglio, Jason. Hilmes, Michele. (Eds) Radio's New Wave: Global Sound in the Digital Era. Routledge 2013
McLeish, Robert. Radio Production, 5th Edition, Oxford: Focal Press, 2005
Niebur., Louis. Special sound: the creation and legacy of the BBC Radiophonic Workshop; New York: Oxford University Press, 2010
Nyre, Lars. Sound media : from live journalism to music recording / London ; New York, NY: Routledge, 2008
Porter, Jeff. Lost sound : the forgotten art of radio storytelling; Chapel Hill: The University of North Carolina Press, 2016
Richardson, John., Gorbman, Claudia., Vernallis, Carol (Eds). The Oxford handbook of new audiovisual aesthetics / New York, NY Oxford University Press, 2013
Sider, Larry., Freeman, Diane., Sider, Jerry. Soundscape: the School of Sound lectures, 1998-2001; London: Wallflower Press, 2003
Sterne, Jonathan(Ed). The sound studies reader; New York: Routledge, 2012
Talbot-Smith, Michael. Sound Assistance. London: Focal Press, 1999.
Van Leewin, Theo. Speech, Music, Sound. London: MacMillan 1999
Verma, Neil. Theater of the mind: imagination, aesthetics, and American radio drama; Chicago: The University of Chicago Press, 2012
Voegelin, Salomé. Listening to noise and silence : towards a philosophy of sound art / New York : Continuum, 2010
Voegelin, Salomé. Sonic possible worlds: hearing the continuum of sound; New York: Bloomsbury Academic, 2014
Further Readings/books and articles will be posted to ilearn during the semester in relation to workshop topics.
See iLearn for details.
Macquarie University policies and procedures are accessible from Policy Central. Students should be aware of the following policies in particular with regard to Learning and Teaching:
Academic Honesty Policy http://mq.edu.au/policy/docs/academic_honesty/policy.html
Assessment Policy http://mq.edu.au/policy/docs/assessment/policy_2016.html
Grade Appeal Policy http://mq.edu.au/policy/docs/gradeappeal/policy.html
Complaint Management Procedure for Students and Members of the Public http://www.mq.edu.au/policy/docs/complaint_management/procedure.html
Disruption to Studies Policy (in effect until Dec 4th, 2017): http://www.mq.edu.au/policy/docs/disruption_studies/policy.html
Special Consideration Policy (in effect from Dec 4th, 2017): https://staff.mq.edu.au/work/strategy-planning-and-governance/university-policies-and-procedures/policies/special-consideration
In addition, a number of other policies can be found in the Learning and Teaching Category of Policy Central.
Macquarie University students have a responsibility to be familiar with the Student Code of Conduct: https://students.mq.edu.au/support/student_conduct/
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Late Submissions
Tasks 10% or less. No extensions will be granted. Students who have not submitted the task prior to the deadline will be awarded a mark of 0 for the task, except for cases in which an application for Disruption to Studies is made and approved.
Tasks above 10%. Students who submit late work without an extension will receive a penalty of 10% per day. This penalty does not apply for cases in which an application for Disruption to Studies is made and approved.
Macquarie University provides a range of support services for students. For details, visit http://students.mq.edu.au/support/
Learning Skills (mq.edu.au/learningskills) provides academic writing resources and study strategies to improve your marks and take control of your study.
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For 2017 the unit is being taught by new staff member Helen Wolfenden and there will be some updates to lecture and workshop content.