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E1. Demonstrate knowledge of the history of video games and analyze the reference video games with arguments based on evaluation criteria contextualized in the historical and cultural framework.
E2. Design the mechanics, rules, structure and narrative of video games following the criteria of gameplay and balance to provide the best possible gaming experience.
G1. Demonstrate having and understanding advanced knowledge of their area of study that includes the theoretical, practical and methodological aspects, with a level of depth that reaches the forefront of knowledge.
G2. Solve complex problems in their field of work, by applying their knowledge, developing arguments and procedures, and using creative and innovative ideas.
G3. Gather and interpret relevant data (usually within their area of study) to make judgments that include reflection on relevant social, scientific, or ethical issues.
G4. Communicate information, ideas, problems and solutions to a specialized and non-specialized audience.
G5. Develop the learning skills needed to undertake further studies with a high degree of autonomy.
T2. Work as a member of an interdisciplinary team either as an additional member or performing management tasks in order to contribute to developing projects with pragmatism and a sense of responsibility, making commitments and taking into account available resources.
The subject aims to provide technical but also analytical knowledge of the link between music and image. Many examples of productions where music (or its absence) play a prominent role are analyzed, and we try to understand how music can be written that really contributes to improving the final product.
We will have contributions from professional composers and we will see how a soundtrack with orchestra is recorded.
This subject has methodological and digital resources to make possible its continuity in non-contact mode in the case of being necessary for reasons related to the Covid-19. In this way, the achievement of the same knowledge and skills that are specified in this teaching plan will be ensured.
At the end of the course the student must be able to:
Determination and explanation of the concepts and procedures in the theoretical classes. Retroactive student-teacher interaction. Carrying out internships representative of activities in the professional world. The student will show the preparations for each internship in advance to the teacher, and will ensure that the internships in the recording studio are guaranteed to be completed successfully before entering.
The practices of the subject constitute a journey through all the processes of a musical production, always oriented to the service of a script, story or directly a film.
You will see fundamental concepts of sequencing on DAW systems, virtual instrument libraries, basic score editing, mock-up recording, click track creation.
The star project of this subject is the recording of projects with a real orchestra, where all the students will be the production team in charge of the logistical, technical part and in many cases, the composition.
The subject is evaluated through the work done:
- Oral presentation on composers of soundtracks (10%)
- Practice 1: Composition / setting of music for a documentary (10%)
- Practice 2: Virtual instruments. MIDI sequence sound (10%)
- Practice 3: Composition for short film (20%)
- Final practice: Music production with musicians (50%)
Undelivered internships will have a grade of zero, with no possibility of recovery. In case of failing the subject, you will have to take a resit exam.
Conrado Xalabarder. Music, an optical illusion. ED. Books online, ISBN 1597541672
Jeff Rona. The reel world, Miller Freeman Books. ISBN ISBN 0-87930-591-6.
Jose Nieto. Music for the image: the secret influence. Ed. Iberautor Cultural Promotions, ISBN ISBN 9788480486040.
On the Track: A Guide to Contemporary Film Scoring, Karlin, Fred and Wright, Rayburn: Editor: Routledge
Michel Chion. Audiovision. Ed. Paidós Ibérica ,, ISBN ISBN 84-7509-859-2.