Reflective practice – using different models and frameworks to maximise both personal and team performance
Career development through mentoring and subject specific skills development
You will study the properties of sound, which are also known as acoustics. This includes vibration, waves and transmission. You will then progress to psychoacoustics, which relates to hearing, and includes: anatomy, mechanisms and processes.
Listening is then addressed in terms of: objects, music and language. Soundscapes, or the unique listening experience of a place, identity and memory are explored. Finally different approaches of Perceptual Audio Evaluation are considered, specifically: design, procedure and analysis.
The work for this module comprises the completion of an individual research project. Each student is assigned a personal Supervisor, and an Internal Examiner who monitors progress and feedback, inputs advice, examines the dissertation and takes the lead at the viva.
There are two preliminary deliverables prior to the submission of the final dissertation:
(1) Project proposal
(2) Initial Report including time plan and dissertation outline
You will begin by considering different types of interactive media, such as Auditory Displays, Video Games, and Sound Art, and their evolution and patterns of use over recent decades. Interactive media production methods are then surveyed, which include: requirements gathering, dialogue editing, dialogue recording, location recording, foley, sound editing, sampling and synthesis, programming and testing. Strategies for planning are examined, incorporating: event mapping, actions (triggers, cues, events), emotions, duration, variation and interactivity. Finally approaches to implementing sound design are reviewed, which comprises: palette, mix, elements, parameters, memory/stream management, geometry, and environments.
You will begin by considering different types of linear media: Theatre, Radio, Audio Books, Film and Television. Linear media production methods are then surveyed, which include: production sound, dialogue editing, automated dialogue recording, location recording, Foley, rerecording/dubbing, sound editing, sampling and synthesis. Strategies for script analysis are examined, incorporating: explicit sounds, environments, emotions, transitions and sound maps. Finally approaches to affecting an audience’s perceptions are reviewed, which comprise: sound imagery, qualities, listening modes, expression of emotional states and sound personality types.