104214 - AUDIO AND SOUND

Subject type: Mandatory

Coordinator: Maddalena Fedele

Trimester: First term

Credits: 4

The subject represents an introduction to different methods of analysis on the relationship between sound and image. We work from two main blocks: one dedicated to the acquisition of tools for the discursive analysis of sound in the audiovisual, and the other to the knowledge of the tools of capture, amplification and sound treatment.

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

• Explain the basic functions of sound in audiovisual media.
• Explain the basic principles of sound, the forms of capture and the audio chain.
• Demonstrate an understanding of the theoretical and practical aspects and methodology of work in their field of study with a depth that reaches the forefront of knowledge.
• Apply their knowledge, understanding of these and their problem-solving skills in complex or professional and specialized work areas that require the use of creative and innovative ideas.
• Collect and interpret data and information on which to base their conclusions, including, when necessary and relevant, reflection on issues of a social, scientific or ethical nature in the field of their field of study.
• Develop in complex situations or that require the development of new solutions both in the academic field and work or professional within their field of study.
• Communicate to all types of audiences (specialized or not) in a clear and precise way, knowledge, methodologies, ideas, problems and solutions in the field of their field of study. Be able to identify their own training needs in their field. of study and work or professional environment and to organize their own learning with a high degree of autonomy in all kinds of contexts (structured or not).

The theoretical sessions will combine the expository class with work based on documentary and audiovisual material. They will also propose exercises and discussions based on written material (articles, manuals, technical specifications). 

The teacher will publish on the eCampus all the documents corresponding to the materials and presentations of the theoretical sessions. Regarding the practicals, the student will have a guided document to achieve the procedural content. Attendance at practices is mandatory.

BLOCK 1: Theoretical-discursive approach

Michel Chion and audiovisual

The concept of added value by sound

The functions of film music

Sound editing and sound functions

Sound analysis in the audiovisual

BLOCK 2: Theoretical-practical approach

Basic principles of sound

Audio chain

squeaking

speakers

Sound recording and processing

The subject is organized in a part of collective theoretical sessions and a part of practical sessions that will be done in small groups. 

3 partial tests throughout the term where theoretical content and aspects related to the content worked on in the compulsory practices will be evaluated. These tests will be done through an online system and their total value will be 20% of the overall grade.

1 final test that will include all the contents of the subject. Its weight on the final grade will be 50%.

1 group analysis work to be presented in class. Its weight on the final grade will be 30%.

To make an average you will need to have passed the final test with more than a 4 out of 10. Those students who obtain a grade lower than 4 will have to take a recovery test; the rest of the grades of 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.

ALTEN, Stanley R. (2008). The sound in the audiovisual media. Andoain: Film and Video School.

MILES, Huber David (2014): Modern Recording Techniques. Abingdon: Focal Press.

SUPPER, Martin (2012) Electronic music and music with computer: History, aesthetics, methods, systems. Madrid: Alianza Ed.

CHION, Michel. (1993). Audiovisual: Introduction to a joint analysis of image and sound. Barcelona: Paidós.

PALOMO, Miguel (1995): The personal recording studio, Madrid: Ed. Amusic.

WHITE, Glenn; LOUIE, GJ (2005): The Audio Dictionary (3rd ed.). Seattle: Washington Press.

RICHARDSON, John., GORBMAN, Claudia., & VERNALLIS, Carol. (Eds.). (2013). The Oxford Handbook of New Audiovisual Aesthetics. New York: Oxford University Press.

GUSTEMS, Josep (Ed) (2014) Music and listening in the audiovisual genres. Barcelona: University of Barcelona

COOK, Nicholas (1998): Analyzing Musical Multimedia. Oxford: Oxford University Press.

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

TAGG, Philp (2013): Music’s Meanings: A Modern Musicology for Non-Muses. New York: The Mass Madia Music Scholars Press

CUNNINGHAM, Mark (1996): Good Vibrations. London: Sanctuary Productions.

KATZ, Mark. (2004): Capturing Sound: How Technology Has Changed Music. Berkeley: University of California Press.

MARTIN, George (1979): All you need is ears. New York: St. Martin's Griffin.

TRYNKA, Paul (Ed) (1996): Rock hardware: 40 years of rock instrumentation. London: Balafon Books.

BUTLER, Tom (1994): Fender Audio Manual. Trad. by Alberto Gutiérrez Marín. Fender Musical Instruments Corporation.

MARTIN, George (1997): Summer of love. The making of Sgt. Peppers. London: Macmillan

AVID. Protools 101, v12. AVID