FACULTY OF COMMUNICATION
Department of Cinema and Digital Media
CDM 400 | Course Introduction and Application Information
| Course Name |
Music and Sound Design in Cinema
|
|
Code
|
Semester
|
Theory
(hour/week) |
Application/Lab
(hour/week) |
Local Credits
|
ECTS
|
|
CDM 400
|
Fall/Spring
|
2
|
2
|
3
|
5
|
| Prerequisites |
None
|
|||||
| Course Language |
English
|
|||||
| Course Type |
Service Course
|
|||||
| Course Level |
First Cycle
|
|||||
| Mode of Delivery | Online | |||||
| Teaching Methods and Techniques of the Course | - | |||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | Students will learn how to make a creative sound channel for filmmaking. |
| Learning Outcomes |
The students who succeeded in this course;
|
| Course Description | This course will start out with a discussion of how sound cooperates with the image track. In cinema, directing is built upon mastery of visual imagery. Renowned artists are celebrated for their masterful visual worlds created in cinema. However, cinema is a audio-visual art form, and in recent years, the importance of sound and music design has been steadily increasing. This course will delve into sound and film music, alongside concepts such as the history of sound, silence, and soundscape. Assignments will have a significant impact on understanding sound and film music. |
|
|
Core Courses | |
| Major Area Courses |
X
|
|
| Supportive Courses | ||
| Media and Management Skills Courses | ||
| Transferable Skill Courses |
WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES
| Week | Subjects | Related Preparation |
| 1 | Composer John Cage and Silence | |
| 2 | Composer Pauline Oliveros and Sound Meditations | First Assignment: Sounds of Emotions |
| 3 | Zeki Müren's Music in Films | Assignment: Sounds of Emotions |
| 4 | Music in Yeşilçam Cinema-1 | Assignment: Interviews with Composers |
| 5 | Music in Yeşilçam Cinema-2 | Assignment: Interviews with Composers |
| 6 | Music in Turkish Cinema after 2000-1 | Assignment: Interviews with Composers |
| 7 | Music in Turkish Cinema after 2000-2 | Assignment Final: Interviews with Composers |
| 8 | Sound Design Exercise-1 | |
| 9 | Sound Design Exercise-2 | |
| 10 | Sound Design Exercise-3 | |
| 11 | New Music for Silent Cinema | |
| 12 | Working on students’ projects | |
| 13 | Sound post production. Working and communicating with sound designers, composers and re-recording mixers. / Working on students’ projects. | |
| 14 | Reviewing students’ projects. Finalizing students’ projects. | |
| 15 | Review of the semester | |
| 16 | Review of the final projects |
| Course Notes/Textbooks | Rick Altman “Moving Lips: Cinema as Ventriloquism”; Michel Chion; The Voice in Cinema |
| Suggested Readings/Materials | Chion, Michel. Audio-Vision: Sound on Screen (1994, Columbia University Press) / Chion, Michel. The Voice in Cinema (1999, Columbia University Press) / Murray, Leo. Sound Design Theory and Practice: Working with Sound (2019, Routledge) / Altman, Rick. Sound Theory / Sound Practice (1992, Routledge) |
EVALUATION SYSTEM
| Semester Activities | Number | Weigthing |
| Participation |
1
|
10
|
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments |
1
|
50
|
| Presentation / Jury | ||
| Project | ||
| Seminar / Workshop | ||
| Oral Exams | ||
| Midterm |
1
|
40
|
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade |
4
|
100
|
| Weighting of End-of-Semester Activities on the Final Grade | ||
| Total |
ECTS / WORKLOAD TABLE
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Theoretical Course Hours (Including exam week: 16 x total hours) |
16
|
2
|
32
|
| Laboratory / Application Hours (Including exam week: '.16.' x total hours) |
16
|
2
|
32
|
| Study Hours Out of Class |
16
|
2
|
32
|
| Field Work |
0
|
||
| Quizzes / Studio Critiques |
0
|
||
| Portfolio |
0
|
||
| Homework / Assignments |
1
|
28
|
28
|
| Presentation / Jury |
0
|
||
| Project |
0
|
||
| Seminar / Workshop |
0
|
||
| Oral Exam |
0
|
||
| Midterms |
1
|
24
|
24
|
| Final Exam |
0
|
||
| Total |
148
|
COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP
|
#
|
Program Competencies/Outcomes |
* Contribution Level
|
||||
|
1
|
2
|
3
|
4
|
5
|
||
| 1 | To be able to have fundamental knowledge about narrative forms in cinema, digital and interactive media, and the foundational concepts relevant to these forms. |
X | ||||
| 2 | To be able to create narratives based on creative and critical thinking skills, by using the forms and tools of expression specific to cinema and digital media arts. |
X | ||||
| 3 | To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media. |
X | ||||
| 4 | To be able to perform skills such as scriptwriting, production planning, use of the camera, sound recording, lighting and editing, at the basic level necessary for pre-production, production and post-production phases of an audio-visual work; and to perform at least one of them at an advanced level. |
X | ||||
| 5 | To be able to discuss how meaning is made in cinema and digital media; how economy, politics and culture affect regimes of representation; and how processes of production, consumption, distribution and meaning-making shape narratives. |
X | ||||
| 6 | To be able to perform the special technical and aesthetic skills at the basic level necessary to create digital media narratives in the fields of interactive film, video installation, experimental cinema and virtual reality. |
X | ||||
| 7 | To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives. |
X | ||||
| 8 | To be able to participate in the production of a film or digital media artwork as a member or leader of a team, following the principles of work safety and norms of ethical behavior. |
X | ||||
| 9 | To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments. |
X | ||||
| 10 | To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media. |
X | ||||
| 11 | To be able to use a foreign language to communicate with colleagues and collect data in the field of cinema and digital media. ("European Language Portfolio Global Scale", Level B1). |
X | ||||
| 12 | To be able to use a second foreign language at the medium level. |
|||||
| 13 | To be able to connect the knowledge accumulated throughout human history to the field of expertise. |
|||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
NEWS |ALL NEWS
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