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BRISTOL INSTITUTE OF TECHNOLOGY
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MODULAR PROGRAMME
ASSESSED COURSEWORK SPECIFICATION
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Module Details: |
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Module
Code:UFIEK4-20-2 |
Module
Title:
Computing, Audio and Music |
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Module Leader: (please
print)
Marcus Lynch |
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Module Tutors: |
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Pat O'Brien |
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Assignment Element Number:
Component B:2 |
Weighting:
(% of the module's assessment)
30% |
Total Assignment Time:
(hours)
14 hours per group member |
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Dates:
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Assignment issued to student
Date: 26th January 2010 |
Assignment to be returned
to student
Date:
Within 2 weeks of timetabled assessment
session |
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Submission Place:
1N95
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Submission Date:
Presentation slots to be allocated
in last two tutorial sessions of 2nd Semester |
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Submission Time:
15.30 - 16.30 |
Presentation slots to be
allocated in
April 29th and May 6th tutorial sessions of 2nd Semester |
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Deliverables: |
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As per the attached Coursework specification |
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Module Leader Signature:
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UFIEK4-20-2: Computers, Audio and Music 2009-20010
Coursework Component B:2
Aims
You will work in a group of 2 people to create in Cubase* a soundscape of
exactly 3 minutes in duration, incorporating field recording(s) and other elements.
You will deliver an MP3 version of a stereo mixdown of your soundscape,
a screenshot of your soundscape sequence, a summary document and
a laminated A3 poster describing your soundscape.
* Note that we run computers with Cubase installed so we teach and support
work in Cubase - if you choose to use another sequencing package, we may not
be able to advise you in detail as to how to work on this assignment.
Instructions
- Choose a partner and register
your group by the deadline below.
- Working with your partners, use Cubase to produce a soundscape
comprised of at least 8 audio tracks, which plays for exactly 3
minutes and 0 seconds. You should use audio elements only. You
may also use audio instruments in Cubase. If you work from
home,
you
may use
any
sequencer that can produce a stereo MP3 mixdown , playable using iTunes
in 1N95.
Whether you use Cubase or another sequencer package, you should
supply a screenshot of your
soundscape sequence before export for inspection
by tutors at your presentation
.
- Prepare a document describing your sequence. This must include
- the names and student numbers of all
group members
- the name of the soundscape you have assembled. Note that your soundscape
can be of any type - your soundscape does not have to contain any "musical" elements
at all, or it could be a song with field recordings incorporated. The
choice of focus is yours, but please discuss with your tutors. Please name
your file as something other than
"Soundscape" or "Untitled" - try to choose an unambiguous
name by which it can easily be identified during and after the presentations
(group member surnames for example).
- tracks used and content of each track
- the sources of, and transformations applied to, every piece
of audio used in your soundscape
- copyright details of every piece of audio used in your
soundscape. It is important that you detail this, since only soundscapes
that have every audio element cleared for copyright may be offered to
radio stations in consideration for broadcast
- details of any of the plus points detailed below that you have used
- details of any other operations you have performed on your sequence
that demonstrate your technical competence
- Prepare a poster (one side
of A3 and laminated) describing your soundscape, and including for all group
members:-
- photographs
- email addresses/website URLs.
This poster may be used in displays of work
on Open Days and similar events. If you do not want your poster to be considered
for use,you should make this clear on the poster itself.
- You will perform
your
sequence
from
the MP3 stereo mixdown, copied onto the central machine in 1N95 as directed
by your tutor before your presentation timeslot.
- Submit your summary document (as described above), demonstrate and playback
your sequenced soundscape in the Multimedia lab,1N95, at a specific time
(to be notified) on 27th April or May 3rd.
Nearer the date of the assessment, you will be allocated a specific 10 minute-long
presentation slot. This information will be posted on UWE Online.
- Be prepared to answer questions about your soundscape at this time
- Each member of the group will get equal marks unless written evidence of
widely varying contributions is provided to Marcus Lynch at least three (3)
days before the day of your presentation.
- You should be prepared to make your source soundscape sequence and all
associated files (audio, MIDI etc.) available for inspection at a mutually
convenient time within the following 7 days, if requested so to do by your
assessing tutors.
Deadlines
- Friday March 26th, 20010. All groups must be
registered by email with Marcsu Lynch ( at marcus.lynch@uwe.ac.uk).
- 29th April / May 6th. All partners must attend in 1N95 to present
the soundscape
to module tutors
and
fellow
students.
Your Soundscape
- You may present a musically-based piece
or a more abstract piece, but your presentation must include
at least 20 seconds of field recording. There are several examples of soundscapes
in
the Music
+ Audio Resources (accesssible only from inside UWE firewall, or by using
Remote Access.app using a Macintosh - and registering
via BIT HelpDesk - or myXA on
a PC).
- Your soundscape does not need to be a piece of music.
Lyrics
or vocals
are not obligatory, although they can be very effective at conveying a sense
of your soundscape.
VST instruments or equivalent may be used, as long as their outputs are recorded
into an audio track.
- The playing time of your soundscape should be exactly 3
minutes and 0 seconds
- Your soundscape must have at least four discrete sections, which should be
clearly indicated on a screenshot of your sequence.
- Your soundscape sequence should contain at least 8 tracks - you can add as
many extra tracks as you like (as long as the sequence plays on the equipment
in 1N95) without
having to ask for prior clearance from your module tutor.
-
Your soundscape must contain only material for which you have
copyright permission. This may include your own compositions and recordings,
as well as material
available
from sources such as Creative Commons
or The Freesound Project.
-
You should mix your soundscape down to a stereo output
in MP3 format
About Your Soundscape
Plus Points
You can improve your sequence by optionally including some or all of
the following plus points.
- Using filters and effects to emphasize the structure of the soundscape.
- Timestretching
- Pitchshifting
- Active pan positioning each instrument at the start of
each
track.
- Using controllers, such as portamento, sustain,
reverb, chorus and others.
- Changing the tempo (if appropriate) of your soundscape.
- Cross-fading - morphing from one track to another.
- Otherwise demonstrating your use of transformative filters and effects within
Cubase
Soundscape Progression
A soundscape consisting of nothing more than repeated elements can
quickly become boring. You should make some attempt to prevent this
from happening by using some of the following techniques as the
soundscape unfolds:
- Adding more tracks.
- "Layering" tracks.
- Muting some sections or parts of sections.
- Changing rhythms between sections
- Changing effects used between sections
- Successively transforming audio elements throughout the course of the soundscape
Marking
Your soundscape will normally be marked during the assessment session
but your MP3 file will be retained for possible further
analysis.
After demonstrating your soundscape, you may be asked to answer questions.
You should also be prepared to demonstrate your complete soundscape sequence,
including source audio files, to tutors at a mutually convenient time and place
before the end of the examination season - you will be told at the end of your
presentation slot if thisis required of you.. If you use a programme other
than Cubase to prepare your soundscape, it is your reponsibility to
ensure that you are able to meet this condition, should you be asked to.
It is difficult to give precise marking criteria for such a wide ranging
assignment; however, the following guide-lines will be used when marking
your
work:
- Minimum Pass (40%-50%)
For a minimum pass, the sequence must meet all of the following
criteria:
- Between 2'50"" and 3'10" in length
- At least the minimum number of tracks.
- At least have the minimum amount of "original" sequencing, whilst
incorporating at least four discrete sections in the soundscape
However:
- The sequence may not flow smoothly and there may be obvious
transitions between sections.
- There may be a number of unintended hiatuses in the sequence (for example
playing back of transformed audio samples in real time may cause unintended
"stuttering").
- There may be no attempt at progression during the soundscape.
- Lower Second Class (50%-60%)
As for minimum pass, plus:
- There will be some attempt at including some of the plus points above.
- At least one of the progression techniques given above will be used during
the sequence.
- Upper Second Class (60%-70%)
- The sequence will probably have more than the minimum amount of
"original" sequencing or use more than the minimum number of tracks.
- There will be some attempt at variation - e.g. rhythms and/or effects used
- The sequence will flow smoothly from section to section, but with
perhaps one obvious transition between sections.
- There will be no more than one unintended hiatus in the sequence
- At least one of the plus points above will be implemented
correctly.
- At least two of the progression techniques given above will be used during
the sequence.
- First Class (70+%)
- The sequence will use at least two of the plus points above.
- The sequence will probably have much more than the minimum amount of
"original" sequencing
- The sequence will probably use more than the minimum number of tracks.
- There will be an obvious effort to vary the rhythms and/or effects as the
soundscape
progresses.
- The sequence will flow very smoothly from section to section.
- There will be no unintended hiatuses in the soundscape
- There will be a distinct progression as the soundscape plays and it
will engage the listener without being boring.
Note that you won't be marked on your taste or your choice
of soundscape.
Audiences For Your Soundscape
After the presentations have been assessed, your soundscape may be offered
to two different radio stations
to
consider for broadcast:- "framework" on resonance
fm and the Hub, UWE's student
radio
station.
"framework" seeks raw field recordings,
field recording based composition or introduction submissions
The Hub is particularly (but not exclusively) interested in speech-based content
Responsibility for Group Work
Every student who is part of a group undertaking an assignment or other piece
of assessed group work is required to take, and will be deemed to have taken,
individual as well as joint responsibility for all the work submitted by the
group. In particular, this includes individual as well as group responsibility
for any assessment offence committed, whether by the student or any other student
in the group. Any penalty applied in the event of an assessment offence will
normally be applied to all members of the group.
The two exceptions to the application of this penalty to all members of the
group are:
- where a member of a group acknowledges, in writing to the Dean of the faculty
owning the module, that s/he has committed an assessment offence
- where an
offence can be shown to have been committed by (a) specific member(s) of
the
group responsible for those sections of the work that are the subject of
the assessment offence.
In the case of these exceptions the penalty will only be applied to the member(s)
of the group who have committed the assessment offence.
Advice
It is good practice in academic writing to reference
correctly the work of others that you may draw upon for your own. Please
help us to clearly distinguish your original efforts by so doing. The usual
university strictures about plagiarism apply to this assignment. There is
a very good description of plagiarism, and of good practice, in the CEMS
student handbook if you are uncertain of the regulations.
UFIEK4-20-2: Computing, Audio and Music Presentation,
Summer 2010
Checklist for content
(N.B. This checklist will be used by marking
tutors as a guide to assessment)
Group Surnames
Soundscape Title:
- Written evidence of widely varying contributions to ML by date specified
- Mix soundscape down to stereo output
- at least 8 audio tracks
- exactly 3 minutes and 00 seconds
- audio elements only
- may use audio instruments
- >= 20 seconds field recording
- >=4 discrete sections
- Copyright details for every piece of audio used
Plus Points
- Using filters + effects to emphasize structure
- Timestretching
- Pitchshifting
- Active pan positioning each instrument at the start of each track
- Using controllers, such as portamento, sustain, reverb, chorus etc.
- Changing the tempo (if appropriate) of your soundscape
- Cross-fading - morphing from one track to another using velocities.
- Other use of transformative filters/effects
Soundscape Progression
- Adding more tracks.
- Layering tracks.
- Muting some sections or parts of sections.
- Changing rhythms between sections
- Changing effects used between sections
- Successively transforming audio elements throughout soundscape
Document describing sequence. This must include
- the names/Stud Nos of group members
- the name + composer(s)
- tracks used and content of each track
- sources +transformations applied to every piece of audio
- copyright details of every piece of audio
- details any plus points used
- detail ops demonstrating tech competence
- Poster with photos, emails, URLs
Marcus Lynch
Module Leader
Last updated :
February 1, 2010