TecnoCampus Foundation
eCampus
University Business
eCampus

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General information

Subject type: Mandatory

Coordinator: Jorge Oter Gonzalez

Trimester: Second term

Credits: 4

Teaching staff: 

Santos Martínez Labor

Academic year: 2024

Teaching course: 2

Languages ​​of instruction

  • Catalan

The subject is taught in Catalan, although several supporting materials will be used in English.

Competencies / Learning Outcomes

Specific skills

  • 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

  • E10_Apply processes, methods and techniques to develop creativity and innovation in audiovisual production, multimedia development and video game programming

  • 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

  • E18_Analyze the structures, contents and styles of television and radio programming according to the technical characteristics of their realization. Design, produce and make programs for television and radio in the technical part: production room or radio control, respectively

Presentation of the subject

The subject provides the basic theoretical and practical knowledge necessary for musical creation associated with an audiovisual product. This knowledge will contribute to a deeper understanding of the various meanings, uses and functions of music in 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.

Contents

I. Basic elements of musical language

Duration: Pulsation, tempo, rhythm. Figures and silences. Accents. Compass. Syncopes, setbacks. Polyrhythm.

Height: Intervals. Steps. Agreements. Tonality. Melodic construction (phrases, motifs). Scope or extension, tessitura. Melodic outline. Monody, polyphony. Homophony and counterpoint. Melody and accompaniment. The leitmotif. Progressions of typical agreements.

Intensity: Very slow, very strong, growing, decreasing, straining, etc.

Timbre: Instrumentation, orchestration. Enveloping. Effects (filters, reverbs, delay, chorus, flanger, phaser, distortion, etc.).

Aural staging.

Musical form, structure.

Musical genres and styles. Musical conventions in audiovisual media, clichés (horror music, science fiction, romance, adventure, action, western, comedy, etc.).

The romantic symphonic model. Programmatic music. Dodecaphonism and atonality. Electronic music. Jazz. World Music. Modernism. Minimalism.

 

II. Introduction to music creation with DAW tools

Reaper, Reason and Pro Tools:

Presentation of the environments

Audio tracks, MIDI and virtual instruments

Audio editing tools

MIDI edition

 

III. Musical creation in the field of audiovisual media

Bookstore music

Original music i compilation scores

Uses and functions of film music

Elaboration of a queue list

Temp tracks, Click tracks

Mixing processes i dubbing

Musical analysis in the field of audiovisual media 

Activities and evaluation system

The subject proposes the evaluation in three blocks:

  • Work: music production for an audiovisual product (40%)
  • Follow-up tests (10%)
  • Final 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.

REFERENCES

Basic

Chion, Michel (1997). Music in cinema. paid

Herrera, Henry (1995). Musical Theory and Modern Harmony (Vol. I & II). A. Bosch.

Kalinak, Kathryn (2010). Film Music. A Very Short Introduction. Oxford University Press.

Complementary

Álamo, Lamberto del (2020). Cinema and its music. Secrets and keys Rialp

Audissino, Emilio (2017). Film/Music Analysis. A Film Studies Approach. Palgrave Macmillan.

Bribitzer-Stull, Matthew (2015). Understanding the Leitmotif. From Wagner to Hollywood Film Music. Cambridge University Press.

Davis, Richard (2010). Complete Guide to Film Scoring. Berklee Press.

Denisch, Beth (2017). Contemporary Counterpoint: Theory & Application. Berklee Press.

Kühn, Clemens (1998). Treatise on musical form. SpanPress.

Kühn, Clemens (2003). History of musical composition in commented examples. Idea Books.

Mouëllic, Gilles (2011). Music in cinema. paid

Neumeyer, David (2015). Meaning and Interpretation of Music in Cinema. Indiana University Press.

Piston, Walter (1984). orchestration Real Musical.

Smith, Reginald (2002). Musical Composition. Oxford University Press.

Tagg, Philip (2013). Music's Meanings: a modern musicology for non-musos. The Mass Media Music Scholars' Press.

Xalabarder, Conrado (2013). The Musical Script in Cinema. World BSO