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The subject is taught in Catalan, although several supporting materials will be used in English.
E9_Apply the mechanical, electronic and digital principles of sound capture, amplification and recording for application to different platforms: shows, radio, television, audiovisual and multimedia. Postproduce the audio and add the sound effects of an audiovisual production
E11_Apply musical rules and languages for music creation and sound recording in music production and the creation of electronic music for use as soundtracks in audiovisual productions
T2_That students have the ability to work as members of an interdisciplinary team either as one more member, or performing management tasks in order to contribute to developing projects with pragmatism and a sense of responsibility, making commitments taking into account the available resources
The subject starts from the theoretical and practical skills worked on in Audio and Sound, Musical Creation and Sound Production, to consolidate them in the field of music production. It proposes an approach to musical production from a historical, aesthetic and analytical perspective, combining theoretical sessions with practical exercises that will be carried out both in the classroom and in the computer lab and in the recording studio. The study of music production is carried out both in the strictly discographic field and in the specific field of audiovisual media.
The classroom (physical or virtual) is a safe space, free of sexist, racist, homophobic, transphobic and discriminatory attitudes, either towards students or towards teachers. We trust that together we can create a safe space where we can make mistakes and learn without having to suffer prejudice from others.
BLOCK 1 - History of music production: genres, styles and schools of production
1. The notions of 'musical production' and the various concepts associated with the term 'producer'.
2. Brief history of music production. Production styles and schools.
3. Musical genres.
4. Relationships between technical procedure and sound aesthetics.
BLOCK 2 - Creative tools and resources. Production analysis.
1. Audio production tools. Corrective and creative abilities.
2. Auditory recognition of the effects and creative processes studied.
3. Analysis of productions in the recording field.
4. Analysis of productions in the field of audiovisual media.
The subject proposes the evaluation in three blocks:
Music production project (40%)
Follow-up tests (10%)
Overall test (50%)
To make an average you will need to have passed the compulsory work and the final test with a minimum of 5 out of 10. Those students who obtain a grade lower than 5 in the work will have to recover it. Those students who get a grade below 5 in the overall test will have to take a make-up test. The make-up test is passed with a 5. The rest of the grades for the partial tests will be kept. Under no circumstances can you opt for recovery to raise your grade.
Partial tests do not have recovery.
Grades may be reviewed at a date and place posted by the teacher through the eCampus.
Identification of plagiarism is considered a serious circumstance that may result in a failing grade for an activity. In case of detection of plagiarism, the coordination of the degree will be informed so that the corresponding disciplinary measures can be taken.
Moorefield, Virgil. (2010). The Producer as Composer. Shaping the Sounds of Popular Music. The MIT Press.
Huber, David M., & Caballero, Emiliano. (2023). Modern Recording Techniques. A Practical Guide to Modern Music Production. (10th ed.). Focal Press.
Daley, Dan. (2004). "The Engineers Who Changed Recording." Sound on Sound Magazine, October. http://www.soundonsound.com/people/engineers-who-changed-recording
Katz, Mark. (2010). Capturing Sound: How Technology Has Changed Music. University of California Press.
Frith, Simon and Zagorski-Thomas, Simon (Eds). (2012). The Art of Recording Production: An Introductory Reader for a New Academic Field. Ashgate Publishing.
Chanan, Michael. (1995). Repeated Takes: A Short History of Recording and Its Effects on Music. Verso
Zagorski-Thomas, Simon. (2014). The Musicology of Record Production. Cambridge University Press.
Davis, Richard. (2010). Complete Guide to Film Scoring. Berklee Press.
Gibson, David., & Curtis, Maestro. (2005). The Art of Producing. How to Produce an Audio Project. ArtistPro Publishing.
Burgess, Richard J. (2013). The art of music production. The theory and practice. Oxford University Press.
Coryat, Karl. (2008). Guerrilla home recording: How to get great sound from any studio. RLPG/Galleys.
Senior, Mike. (2018). Mixing Secrets for the Small Studio. Routledge.
Hexel, Vasco. (2016). Hans Zimmer and James Newton Howard's The Dark Knight: A Film Score Guide. Rowman & Littlefield.