Class Workshop on Sound Design for Image

The objectives of sound design for image: Sound Theory for Film -- Sound and Image in audiovisual media are not divisible. While a harmony between these two senses may exist, its conventions are subject to manipulation and subversion by sound design. This course tracks the technological and aesthetic history of sound for film, grounding students in its theoretical framework. Production Sound -- Students are expected to gain both theoretical and practical exposure to recording sound in production.  Particularly in preparation for the second semester course that follows this one, basic techniques and practice are covered in this class. Music / Design Theory -- Basic music theory is fundamental to intelligent sound design, especially when using tonal relationships to develop moods, and establishing sonic rhythms.   Software Facility -- though software will be covered in other classes, it is imperative that students work in sound editing software in all design classes. 

Not applicable

Sound Theory for Film Psychoacoustics Physics of sound, hearing mechanism, brain interaction Aesthetic History Silent era, to Edison to the Wagnerian aesthetic, dialogue, popular music in film, modern foleys and sound effects, development of ambiences, the modern design/edit Technological History Tracing sound from the wax cylinder to Dolby 7.1 and Atmos Phenomenology Compairing two films, looking at the use of sound metaphor to create phenomenological experiences for viewers Modern Theories Structural semiotics, diegesis, rhetorical relationship between the said and shown Production Sound Microphones transducers, pick-up patterns, power requirements for wired and radio mics Booming  practice in various setups Music Theory Basic Theory scales, tones, rhythmic notation, intervals, melody, harmony, dissonance, consonance, circle of fifths Software Instruction and practice with ProTools midi and editing for all sound assignments 

This course is a constant dialogue, a narrative where theories of film sound are articulated with examples in the theater/classroom and constantly open for class discussion. The surround sound studio is an innovative environment for such engagement, and provides a place of reflection and ear training through critical listening-viewing. Each week is articulated with readings. When students write their papers and present their finding, they are forced to articulate the theory learned and engage with their peers.

BECK, Jay (2008), Lowering the Boom: Critical Studies in Film Sound, University of Illinois Press. CHION, Michel (1994),  AudioVision, New York, Columbia University Press. CHION, Michel (1998), The Voice in Cinema New York, Columbia University Press. CHION, Michel (2009), Film: A Sound Art. Columbia University Press. COOK, Nicholas (1998), Analysing Musical Multimedia, Oxford, Oxford University Press. FISCHER, Lucy (1977), Enthusiasm: From Kino-Eye to Radio-Eye. Film Quart, Vol. 31 No. 2, Winter, 1977-1978; HUBER, David M., RUNSTEIN, Robert E. (2005), Modern Recording Techniques, Oxford, Focal Press-Elsevier. KERNER, Marvin M (2009),The Art of the Sound Effects Editor , Boston, Focal Press SONNENSCHEIN, David (2001), Sound Design: The Expressive Power of Music, Voice, and Sound Effects in Cinema, Studio City, Michael Wiese Productions.. WEIS, Elisabeth (1985), Film Sound: Theory and Practice, New York, Columbia University Press.