50859 Speech, Music, Sound
Warning: The information on this page is indicative. The subject outline for a
particular session, location and mode of offering is the authoritative source
of all information about the subject for that offering. Required texts, recommended texts and references in particular are likely to change. Students will be provided with a subject outline once they enrol in the subject.
Subject handbook information prior to 2020 is available in the Archives.
Credit points: 8 cp
Result type: Grade and marks
Requisite(s): 50861 Audio Culture OR 50857 Electronic Music Composition
These requisites may not apply to students in certain courses.
There are course requisites for this subject. See access conditions.
Anti-requisite(s): 50833 Speech, Music, Sound
Description
This subject focuses on the relationships between speech, music and sound; exploring the communicative roles of aural perspective; rhythm, melody and timbre in music as well as speech; everyday soundscapes; and film and television soundtracks. Subject areas covered include the human voice in cinema, semiotics of sound and music, and the interrelationships between textual language and music. Study of the theoretical aspects of the subject are reinforced by practice-based sessions and assessments.
Subject learning objectives (SLOs)
| a. | Analyse the role sound in specific contexts |
|---|---|
| b. | Identtify key methods of sound'd effect using relevant theoratical frameworks |
| c. | Evaluate sound's value in a variety of multimedia contexts |
| d. | Develop methods for communications as assessment of sound's utility |
| e. | Create responses to exsisting sound works inwritten or other formats |
Course intended learning outcomes (CILOs)
This subject engages with the following Course Intended Learning Outcomes (CILOs), which are tailored to the Graduate Attributes set for all graduates of the Faculty of Arts and Social Sciences:
- Possess a well-developed awareness of professional practice in the context of the communication industries (1.1)
- Apply theoretically informed understanding of the communication industries in independent and collaborative projects across a range of media (1.2)
- Possess information literacy skills to locate, gather, organise and synthesise information across diverse platforms to inform the understanding of the communication industries (2.1)
- Demonstrate an awareness and knowledge of global contexts and openness to cultural exchange (3.1)
- Possess the awareness of ethical practice in the personal, political and professional contexts of civil society (5.1)
- Possess well-developed skills and proficiencies to communicate and respond effectively and appropriately across different contexts (6.1)
Teaching and learning strategies
The teaching and learning strategies in this course rely on a shared commitment by students and teaching staff. Delivery includes face-to-face, online and ‘in the field’ activities, with the effectiveness of these determined by each student’s regular participation. The subject includes a mixture of collaborative in class exercises and interactive educational resources, while also providing institutional support and guidance. Students are required to engage with online, pre-class learning materials before coming to tutorials.
Content (topics)
Why and how music matters, telling sonic stories, genre and agenda setting , uses and abuses of sonic power, evaluating sound using text and evaluating sound by responding with new sound works.
Assessment
Assessment task 1: Sound evaluation Interview and written submission
| Objective(s): | b, c and d | ||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Weight: | 30% | ||||||||||||||||||||
| Length: | Five minute interview (to be timed by the tutor) and a 500 word written submission due three days prior to scheduled interview | ||||||||||||||||||||
| Criteria linkages: |
SLOs: subject learning objectives CILOs: course intended learning outcomes |
Assessment task 2: Sound evaluation storyboard
| Objective(s): | a, b, c and d | ||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Weight: | 30% | ||||||||||||||||||||
| Length: | 1500 words, to be presented in the format disseminated on UTS Online. Direct use of references is also expected, however these will not contribute to the word count | ||||||||||||||||||||
| Criteria linkages: |
SLOs: subject learning objectives CILOs: course intended learning outcomes |
Assessment task 3: Sound evaluation creative response
| Objective(s): | a, b, c and e | ||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Weight: | 40% | ||||||||||||||||||||
| Length: | Submissions which are recorded are to be submitted as sound files of between three and four minutes with an accompanying annotated bibliography that includes at least five sources and 100 words of annotation for each. Submissions of written creative responses are to be between 2000-2500 words, including references, and need to include appropriate research and application of course readings. Students are expected to reengage with one of the topics used for Assignment 1 as part of their final task in week 13. This enables you to incorporate and respond to feedback received in assignment 1. | ||||||||||||||||||||
| Criteria linkages: |
SLOs: subject learning objectives CILOs: course intended learning outcomes |
Minimum requirements
Attendance at tutorials is essential in this subject because important information is only available through the essential workshopping and interchange of ideas with other students and the tutor. An attendance roll will be taken at each class. Students who fail to attend 85% of classes will be refused to have their final assessment marked. (see Rule 3.8).
Recommended texts
The best texts to consult are those listed and linked to via UTS online, however the following written materials are also useful for additional research and context (you'll notice that some appear both here and on UTS online, although for copyright reasons we cannot include all of these below).
Barthes, R., 1977/2005, Image, Music, Text: essays selected and translated by Stephen Heath, Fontana, London
Carlin, R., 2004, ‘The Good, The Bad, and The Folk’ in Washbourne et al, Bad Music: The Music We Love to Hate, Routledge.
Chion, M., 1999, The Voice in Cinema, Columbia University Press
Cohen, S., 2002, “Gendered Spectacles” in Cohen, Steven (ed) Hollywood Musicals: The Film Reader. London & New York: Routledge, pp 63-66.
Coulthard, L., 2009, “Tarantino, Popular Music and New Hollywood Ultraviolence”, Music and the Moving Image, v2n2, pp 1-6.
Dyer, R., 2012, In The Space Of A Song: The Uses of Song in Film, Routledge, London.
Frith, S., 1995, “The Body Electric”, Critical Quarterly, v37n2, pp 1-10.
Gick, M.L., 2011, “Singing, health and well being: A health psychologist’s review”, Psychomusicology: Music, Mind & Brain , v21 (1 &2), pp 1-32.
Gorbman, C., 2011, “Artless Singing”, Music, Sound & the Moving Image, v5n2, pp 157-171.
Greene, L., 2009, “Speaking, Singing, Screaming: Controlling the Female Voice in American Cinema”, The Soundtrack, v2n1, pp 63-76
Hesmondhalgh, D., 2013, Why Music Matters, Wiley.
Johnson, B. and Cloonan, M., 2008, Dark Side of the Tune: Popular Music and Violence, Ashgate, Hampshire.
Kalinak, K. M., 2007, How The West Was Sung: Music in the Westerns of John Ford, University of California Press, California
Kooijman, J., and Laine, T., 2003, “American Psycho: a double portrait of serial yuppie Patrick Bateman”, Post Script, v22n3, pp 46-53.
Lannin, S., and Caley, M., 2005, Pop Fiction, Intellect.
McLean, A., 1993, “It’s only that I do what I love and love what I do: ‘Film Noir’ and the Musical Woman”, Cinema Journal, v33n1 (Autumn), pp 3-16
Mera, M., 2002, “Is Funny Music Funny? Contexts and case studies of film music humour”, Journal of Popular Music Studies, v14n2, pp 91- 113.
Moylan, W., 2002, The Art of Recording: Understanding and Crafting the mix. Focal Press.
Mundy, J., 2006 “Singing Detected: Blackpool and the Strange Case of the missing musical drama”, Journal of British Cinema and Television, 3 (1), pp 9-71
Siefert, M., 1995, “Image/Music/Voice: Song Dubbing in Hollywood Musicals”, Journal of Communication, v45n2, pp 44-64
Sonnenschein, D., 2001, Sound Design: The Expressive Power of Music, Voice, and Sound Effects in Cinema. Michael Wiese Productions.
Woodworth, M. and Grossan, A., 2015, How to Write about Music: Excerpts from the 33 1/3
Series of Magazines, Books and Blogs with Advice from Industry-leading Writers, Bloomsbury.
References
The UTS (modified) Harvard referencing system is used in the School of Communication, School of International Studies and Adult Education courses. Details of which can be found at: http://www.bell.uts.edu.au/referencing/harvard_system.
Please ensure your references are clear and detailed- include page/s numbers, dates of access and specific information about how and where you've accessed your supporting materials. Show off your research by being clear with your references.
Other resources
There are a series of interesting and relevant support materials available via the UTS library through EDU TV. Direct links and suggestions will be included in UTS Online.