Master Sound Design for Film and Television - Máster en Sonido para Cine y Televisión
This course is intended primarily for those with experience of music technology and related disciplines who wish to explore the field in more depth, or broaden their experience in interdisciplinary and multimedia work. It would also benefit those with a general musical background who wish to gain more experience working with technology, and those with experience in media-based technologies who wish to focus on sound.
We offer places on the basis of our assessment of the student´s quality, potential and commitment, and their ability to benefit from the course. Normally, but not invariably, a student will have a first degree. Applications are invited from candidates with a range of academic disciplines and from a variety of national backgrounds. Applicants should submit a portfolio with their application, comprising no more than three pieces of representative work. The form of this portfolio will depend on the music you make: we are happy to receive CDs, DVDs, scores, documentation of performances or installations, or online material as appropriate.
Skills Portfolio: This module is offered to allow students to garner any technical and creative skills they will need for the rest of the course. It is recognised that students at this level will already have a strong skill-set, but also that they may have areas they wish to strengthen, or indeed areas they have not previously engaged with. Students are offered a selection of skills-based options – small, self-contained bespoke practical projects based around particular technical (in the broadest sense) skills. The skills on offer cover a broad range of sound and media skills. This provides an opportunity for students from different backgrounds to reach a parity in terms of skill set, and also provides a progression from undergraduate-level project work to the sort of projects that will be undertaken in Trimesters 2 and 3. Students will choose three from a wide selection of such projects. In each case, the student undertakes a small practical project and also submits an evaluative log demonstrating their understanding of the technology concerned.
Context and Methodology: This module is intended to fulfil the requirements of a research methodology module. However, since a large part of the programme is practice-based, and the methodology for this aspect of students´ work is covered by other modules in the programme, it is intended to combine a study of research methodology with a study of context in terms of the student´s own practice – specifically, of a set of paradigms that characterise the field´s current, creative boundaries. The primary teaching method for this module is a weekly lecture/seminar, with some tutorial sessions that focus on pathway specialism. The assessment item will be a 5000-word topic review, demonstrating an understanding of the methodologies covered by the module and an awareness of the contextual siting of the student´s own practice.
Electroacoustic Composition Techniques (option): This module centres around a weekly seminar series. Each seminar looks at a set of techniques and their application within a compositional framework. These range from classic techniques derived from the fields of Musique Concrete, Elektronische Musik and Computer Music to contemporary techniques from areas such as Acousmatic Art, Soundscape, Microsound and Electronica. Students produce a portfolio of creative practical work exploring these techniques, as well as a self-evaluative written assignment which explores the application of these techniques to their individual practice.
Visual Music (option): A weekly seminar series explores the history of visual music, from pre-cinema artists such as Kandinsky and Klee, through Early Abstract Cinema pioneers such as Max Richter, Viking Eggeling and Oskar Fischinger, to the modernist, fluxus and underground artists of the 60s and 70s (the Whitney Brothers, Mark Boyle, Glenn McKay, Nam June Paik etc.). It also covers contemporary artists such as Kurt Ralske, Jeremy Goldstein and Scott Pagano, as well as more commercial practitioners such as Chris Cunningham, Alex Rutterford and the Pleix and Shynola collectives, and new media creatives. This seminar series is informed by a range of high-level practical input in areas such as video editing, animation, motion graphics and interactivity. Students produce a portfolio of creative and practical work exploring the concepts and skills explored by the module, and a selective topic review further exploring some of the areas covered by the seminar series.
Collaborative and Interdisciplinary Practice: This module encourages students to collaborate with students on the Creative Sound and Media Technology course, with students taking our other MMus courses, or indeed with creative individuals outside of the course. It allows students who are so inclined to look beyond their core discipline and undertake interdisciplinary projects, but can also provide an opportunity to work in new ways within their core discipline through collaborative practice. Delivery centres around small-group seminars (focused on particular interest areas), and assessment is based on a portfolio of creative work and a self-evaluation/collaborative process document.
Major Project: This double module represents the culmination of the MMus, and a chance for students to work in a research-oriented environment dependent largely on personal direction and working methods. Students use the skills acquired in their undergraduate work and the first two trimesters to produce a substantial portfolio of practical creative work. The exact nature of this work is to be negotiated with the module leader, but it must represent the quantity of work required by a double module. The module will be largely student-led, with most of the work centred around individual practice. Students receive tutorial support at the beginning and end of the module.
Potential career destinations include:
Composition for media
Other media work (web, games etc.)