104323 - MUSICAL PRODUCTION

Subject type: Mandatory

Coordinator: Maddalena Fedele

Trimester: Second term

Credits: 4

The subject includes the theoretical and practical skills seen in Audio and Sound, Music Creation and Sound Production to consolidate them in the field of music production. We work in both the field of analysis and praxis.

At the end of the course the student must be able to:

1. Use sound recording techniques in a wide range of situations.
2. Use the equalization and compression parameters.
3. Make your own personal study based on DAW and / or Virtual study.
4. Create your own sounds and sound textures for both music and special effects.
5. Create structured and homologable themes of electronic music in any type of style and for any possible recipient of the audiovisual sector.
6. Understand the concepts of rhythm, harmony and melody.
7. Know computer music notation systems.
8. Create a topic with a proper structure.
9. Know the different parts of a musical arrangement.
10. Know the different musical styles and their characteristics.
11. Know how to plan a musical recording.
12. Use sound recording techniques in a wide range of situations.
13. Creatively look for the sound elements needed for your goal and apply creativity.

In addition, the student will also achieve the following learning outcomes:

14. To know the different stages of a musical production and its tools and methodologies.
15. Identify the main aesthetic and stylistic currents of music in audiovisuals.
16. To have tools and analytical resources for an in-depth analysis of sound discourses in musical production, both historical and current.
17. To be able to analyze the role of sound in the audiovisual media beyond strictly technical issues.
 

The course combines theoretical sessions (collective discussion sessions on support materials such as documentaries and articles) with practical sessions. The work methodology is divided into two distinct parts:

- Large group sessions (3h / week) where theoretical knowledge is taught. 

- Practical sessions in small groups (2h fortnightly), where activities focused on the creation, editing and mixing of music are developed.

Attendance at internships is mandatory.

BLOCK 1 History of musical production: genres, styles and schools of production

Brief tour through the history of music production 

Musical genres

Production styles and schools

Relationships between technical procedure and sound aesthetics

BLOCK 2 Creative tools and resources

Audio production tools. Corrective vs creative abilities

Auditory recognition of the effects and creative processes studied

BLOCK 3 Analysis

Analysis of musical production in the field of audiovisual media

Analysis of specific cases in the recording, cinematographic, advertising field, etc.

Activity 1. Follow-up tests.

2 tests of theoretical and practical content based on online tests.

Activity 2. Creation of a musical structure

Composition of a musical structure based on the resources of a DAW

Learning outcomes: At the end of the activity the student should be able to:
LO2 Use equalization and compression parameters.
LO4 Create their own sounds and sound textures for both music and special effects.
LO5 Create structured and homologable themes of electronic music in any type of style and for any possible recipient of the audiovisual sector.
LO6 Understand the concepts of rhythm, harmony and melody.
LO7 Know computer music notation systems.
LO8 Create a topic with a suitable structure.

Activity 3. Production on a rhythmic basis

Composition of a rhythmic base with DAW

Learning outcomes: At the end of the activity the student should be able to:
LO5 Create structured and homologable themes of electronic music in any type of style and for any possible recipient of the audiovisual sector.
LO6 Understand the concepts of rhythm, harmony and melody.
LO7 Know computer music notation systems.
LO8 Create a topic with a suitable structure.

Activity 4. Basic arrangements

Arrangement exercises on the files generated in activities 2 and 3.

Learning outcomes: At the end of the activity the student should be able to:
LO2 Use equalization and compression parameters.
LO4 Create their own sounds and sound textures for both music and special effects.
LO5 Create structured and homologable themes of electronic music in any type of style and for any possible recipient of the audiovisual sector.
LO6 Understand the concepts of rhythm, harmony and melody.
LO7 Know computer music notation systems.
LO8 Create a topic with a suitable structure.

Activity 5. Reading and class discussion of academic articles on audio production.

The theory of the subject is complemented by a series of academic articles on music production, some of which will be worked on collectively in class.

Learning outcomes: At the end of the activity the student should be able to:
LO14 Understand the different stages of a musical production and its tools and methodologies.
LO15 Identify the main aesthetic and stylistic currents in music in audiovisuals.
LO16 Have tools and analytical resources for an in-depth analysis of sound discourses in musical production, both historical and current.
LO17 Be able to analyze the role of sound in audiovisual media beyond strictly technical issues.

Activity 6. Music production project

Production of a piece of music (including planning, recording, editing and mixing) to choose from:

Free version
cloned version
Own composition
Instrumental base for given voice track

The project can be considered from any of the tools worked on throughout the degree (DAW, sampling, audio recording...) but it must include, at least, an audio track. Group work (the number of students per group must be agreed with the teacher).

Learning outcomes: At the end of the activity the student should be able to:

LO1. Use sound recording techniques in a wide range of situations.
LO2. Use equalization and compression parameters.
LO3. Make your own personal study based on DAW and / or Virtual study.
LO4. Create your own sounds and sound textures for both music and special effects.
LO5. Create structured and homologable themes of electronic music in any type of style and for any possible recipient of the audiovisual sector.
LO6. Understand the concepts of rhythm, harmony and melody.
LO7. Know computer music notation systems.
LO8. Create a theme with a proper structure.
LO9. Know the different parts of a musical arrangement.
LO10. Get to know the different musical styles and their characteristics.
LO11. Know how to plan a music recording.
LO12. Use sound recording techniques in a wide range of situations.
LO13. Creatively look for the sound elements needed for your goal and apply creativity.

Activity 7. Written report.

Each group must submit a written report of the project of the subject. It must be delivered through the eCampus in a format stipulated in the associated document. It will be advised that the structure of the report of the work be analogous to that of the TFG of the degree.

Learning outcomes: At the end of the activity the student should be able to:

LO14. Know the different stages of a music production and its tools and methodologies.
LO15. Identify the main aesthetic and stylistic currents of music in audiovisuals.
LO16. Have analytical tools and resources for an in-depth analysis of sound discourses in music production, both historical and current.
LO17. To be able to analyze the role of sound in the audiovisual media beyond strictly technical issues.

Activity 8. Final test

Final test of theoretical and practical knowledge.

The subject proposes the evaluation in four blocks: 

Activity 1. Follow-up tests (20%).

Activity 6. Music production project (15%).

Activity 7. Written report of the project (15%).

Activity 8. Final test (50%).

To take the average, you must have passed the final test with more than a 5 out of 10. Those students who obtain a grade lower than 5 will have to take a recovery test. The recovery test is passed with a 5. The remaining marks of the partial tests will be kept. In no case will it be possible to opt for recovery to raise a grade. Partial tests and the project have no recovery.

Grades may be reviewed at a date and place posted by the teacher through the eCampus.

Cunningham, Mark. 1996. Good Vibrations. A history of record production. London: Sanctuary Productions.

Frith, Simon and Zagorski-Thomas, Simon, editors. 2012. The Art of Recording Production: An Introductory Reader for a New Academic Field. Surrey: Ashgate Publishing.

Moylan, William. 2002. The Art Of Recording: Understanding and Crafting the Mix. Burlington, Massachusetts: Focal Press.

Roquer, Jordi; Martínez, Santos & Badal, Carlos. 2015. “Queen's Snake: The Use of Audio Production Techniques as a Means to Semantic Extension in Queen's 'Was It All Worth It.'” In Reinventing Sound: Music and Audiovisual Culture, edited by Enrique Encabo, 29–42. Cambridge: Cambridge Scholars Press.

Chanan, Michael. 1995. Repeated Takes: A Short History of Recording and Its Effects on Music. London: Verse.

Roquer, Jordi. 2018. Sound hyperreality in popular music: On the influence of audio production in our sound expectations. Cambridge Scholar Publishing.

Zagorski-Thomas, Simon. 2014. The Musicology of Record Production. Cambridge: Cambridge University Press.

Daley, Dan. 2004. “The Engineers Who Changed Recording.” Sound on Sound Magazine, October. http://www.soundonsound.com/people/engineers-who-changed-recording

Doyle, Peter. 2005. Echo and Reverb: Fabricating Space in Popular Music Recording, 1900-1960. Middletown: Wesleyan University Press.

Katz, Mark. 2010. Capturing Sound: How Technology Has Changed Music. Berkeley: University of California Press.

Levitin, DJ 2008. How recordings are made (I) in Audio anecdotes III: Tools, tips and techniques for digital audio (pp. 3-14). Natick: AK Peters 

Gibson, D. 1997. Styles of mixing; Visual Representations. Inside The Art of Mixing. A Visual Guide to Recording. Michigan: MixBooks.

Théberge, P. 1997. The Sound of Music. Inside Any Sound You Can Imagine: Making Music / Consuming Technology. New England: Wesleyan.

Simons, D. 2004. The Atlantic Story / From Funk to Punk. Inside Studio Stories. London: Backbeat Books