Unit convenor and teaching staff |
Unit convenor and teaching staff
Unit Convenor
Denis Crowdy
Contact via denis.crowdy@mq.edu.au
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Credit points |
Credit points
4
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Prerequisites |
Prerequisites
Admission to MCrMedia or MCrInd or MFJ or MCreIndMFJ
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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 examines recorded sound and its relation to society. Areas of investigation include changes in technology and cultural context, expectations of fidelity, remote and field recording issues and practice, production values, media and distribution, recording ethics and relevant legal issues.
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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:
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.
Name | Weighting | Hurdle | Due |
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Critical summaries and notes | 30% | No | Continuous from week 3 |
Production analysis portfolio | 45% | No | From week 8 |
Exegesis | 25% | No | Week 13 |
Due: Continuous from week 3
Weighting: 30%
A series of readings are presented throughout the course, and students are to write critical summaries of a selection of these readings. These will be assessed starting in week 3 on an ongoing basis.
Submission via iLearn/Turnitin
Assessment criteria:
Ability to summarise effectively
Effectiveness of research and analysis skills
Clarity and quality of writing and understanding of appropriate style
Due: From week 8
Weighting: 45%
In consultation with the convenor/tutor, students will research three selected areas of recorded music production, and explore these through guided recordings. Each component is to be presented to the class from week 8, guided by notes from the accompanying exegesis assessment. The final portfolio is to be handed in at the end of week 13.
Submission via iLearn and ISIS file server (for large audio projects)
Assessment criteria:
Depth of conceptual and practical engagement with production analysis
Adherence to technical and audio quality requirements
Due: Week 13
Weighting: 25%
Students are to describe and analyse the selection of and processes involved in recordings created for the production analysis portfolio. This will be used to present each component of the production analysis portfolio starting in week 8.
Submission via iLearn/Turnitin
Assessment criteria:
Communication of production process and problems encountered
Clarity and quality of writing and appropriateness of style
Evidence of engagement with core concepts
Azenha, Gustavo S. “The Internet and the Decentralisation of the Popular Music Industry: Critical Reflections on Technology, Concentration and Diversification.” Radical Musicology 1 (2006).
Baade, Christina, and Paul Aitken. “Still ‘In the Mood’: The Nostalgia Aesthetic in a Digital World1.” Journal of Popular Music Studies 20, no. 4 (2008): 353–77. doi:10.1111/j.1533-1598.2008.00169.x.
Barbour, E. “The Cool Sound of Tubes [Vacuum Tube Musical Applications].” Spectrum, IEEE 35, no. 8 (1998): 24–35. doi:10.1109/6.708439.
Berger, Harris M., and Cornelia Fales. “‘Heaviness’ in the Perception of Heavy Metal Guitar Timbres: The Match of Perceptual and Acoustic Features over Time.” In Wired for Sound: Engineering and Technologies in Sonic Cultures, edited by Paul D. Greene and Thomas Porcello, 181–97. Middletown, Connecticut: Wesleyan University Press, 2005.
Bruns, Axel. “From Prosumer to Produser: Understanding User-Led Content Creation.” In Transforming Audiences 2009. London: ARC Centre of Excellence for Creative Industries and Innovation; Creative Industries Faculty; Institute for Creative Industries and Innovation; Journalism, Media & Communication, 2009. http://eprints.qut.edu.au/27370/.
Cole, Steven James. “The Prosumer and the Project Studio: The Battle for Distinction in the Field of Music Recording.” Sociology 45, no. 3 (June 1, 2011): 447–63. doi:10.1177/0038038511399627.
Crowdy, Denis. “Chasing an Aesthetic Tail: Latent Technological Imperialism in Mainstream Production.” In Redefining Mainstream Popular Music, edited by Sarah Baker, Andy Bennett, and Jodie Taylor, 150–61. Routledge, 2013.
———. “Studios at Home in the Solomon Islands: A Case Study of Homesound Studios, Honiara.” The World of Music v49n1 49, no. 1 (2007): 143–54.
Fales, Cornelia. “The Paradox of Timbre.” Ethnomusicology 46, no. 1 (January 1, 2002): 56–95. doi:10.2307/852808.
Frith, Simon. “Art versus Technology: The Strange Case of Popular Music.” Media, Culture & Society 8, no. 3 (July 1, 1986): 263–79. doi:10.1177/016344386008003002.
Glasgow, Joshua. “Hi-Fi Aesthetics.” The Journal of Aesthetics and Art Criticism 65, no. 2 (April 1, 2007): 163–74.
Grinnell, C. K. “From Consumer to Prosumer to Produser: Who Keeps Shifting My Paradigm? (We Do!).” Public Culture 21, no. 3 (October 7, 2009): 577–98. doi:10.1215/08992363-2009-009.
Hamm, Russell O. “Tubes Versus Transistors - Is There an Audible Difference?” Journal of the Audio Engineering Society 21, no. 4 (1973): 267–73.
Horning, Susan Schmidt. “Engineering the Performance: Recording Engineers, Tacit Knowledge and the Art of Controlling Sound.” Social Studies of Science 34, no. 5 (October 1, 2004): 703–31.
Jones, Steve. “Technology and the Future of Popular Music.” Popular Music and Society 14, no. 1 (1990): 19. doi:10.1080/03007769008591380.
Leyshon, A. “The Software Slump?: Digital Music, the Democratisation of Technology, and the Decline of the Recording Studio Sector within the Musical Economy.” Environment and Planning A 41, no. 6 (2009): 1309–1331.
Lockheart, Paula. “A History of Early Microphone Singing, 1925–1939: American Mainstream Popular Singing at the Advent of Electronic Microphone Amplification.” Popular Music and Society 26, no. 3 (2003): 367–85. doi:10.1080/0300776032000117003.
O’Connell, Joseph. “The Fine-Tuning of a Golden Ear: High-End Audio and the Evolutionary Model of Technology.” Technology and Culture 33, no. 1 (January 1, 1992): 1–37. doi:10.2307/3105807.
Perlman, Marc. “Golden Ears and Meter Readers: The Contest for Epistemic Authority in Audiophilia.” Social Studies of Science 34, no. 5 (October 1, 2004): 783–807.
Porcello, Thomas. “Speaking of Sound: Language and the Professionalization of Sound-Recording Engineers.” Social Studies of Science 34, no. 5 (October 1, 2004): 733–58.
———. “‘Tails Out’: Social Phenomenology and the Ethnographic Representation of Technology in Music-Making.” Ethnomusicology 42, no. 3 (October 1, 1998): 485–510. doi:10.2307/852851.
Raichel, Daniel R. “Recreational Noise Exposure - An Occupational Hazard for Audio Engineers.” Journal of the Audio Engineering Society 28, no. 12 (1980): 896–99.
Rothenbuhler, Eric W. “For-the-Record Aesthetics and Robert Johnson’s Blues Style as a Product of Recorded Culture.” Popular Music 26, no. 1 (2006): 65–81. doi:10.1017/S0261143007001134.
Thompson, Emily. “Machines, Music, and the Quest for Fidelity: Marketing the Edison Phonograph in America, 1877-1925.” The Musical Quarterly 79, no. 1 (April 1, 1995): 131–71.
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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
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