TecnoCampus Foundation
eCampus
University Business
eCampus

What are you looking for?

General information

Subject type: Mandatory

Coordinator: Maddalena Fedele

Trimester: Second term

Credits: 4

Teaching staff: 

Jordi Roquer González
Santos Martínez Labor 
Santos Martínez Labor 

Skills

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

Description

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.

Learning outcomes

Identify the main aesthetic and stylistic currents of music in audiovisuals.

Have analytical tools and resources for a deep analysis of sound discourses in music production, both historical and current.

Know the different stages of a musical production and their tools and methodologies.

Apply the methodology of music production to self-production.

Working methodology

The subject combines theoretical sessions with collective discussion sessions around supporting materials (documentaries and articles).

Attendance at internships is mandatory.

Contents

 

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 of musical production in the field of audiovisual media

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

 

Learning activities

Reading and subsequent discussion of at least two academic articles in the area of ​​audio production.

Audio viewing and subsequent discussion of at least two documentaries in the area of ​​audio production.

Analysis of productions of various musical genres and styles subject to different schools of musical production.

Production practices in the studio.

Production practices in the laboratory.

Evaluation system

2 tests of theoretical and practical content (60% of the total).

1 final project based on a practical activity related to music production (40%).

REFERENCES

Basic

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

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

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.

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

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

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.

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.