EASTERN MICHIGAN UNIVERSITY
DIVISION OF ACADEMIC AFFAIRS
REQUEST FOR NEW COURSE
DEPARTMENT/SCHOOL: COMMUNICATION, MEDIA AND THEATRE ARTS COLLEGE: ARTS AND SCIENCES
CONTACT PERSON: MATTHEW HANSON/ JOHN COOPER/
CONTACT PHONE: 734-487-0064 /487-7866
CONTACT EMAIL: JCOOPER@emich.edu
REQUESTED START DATE: TERM_____________YEAR___________
A. Rationale/Justification for the Course
Sound design is an essential component of the professional production process in the
field of electronic media. In professional film and video production, the audio component
is produced and handled separately from that of the visual images. Professionals that have
a distinct skill set from those that handle visual production content handle the audio
production content. The course “Sound Design for Electronic Media” will enhance the
Electronic Media and Film Studies major and minor by providing students an opportunity
to develop fundamental technical skills and an aesthetic appreciation of this particular
area of media production.
B. Course Information
1. Subject Code and Course Number:
CTAT 321
2. Course Title: Sound Design for Electronic Media
3. Credit Hours: 03
4. Repeatable for Credit? Yes_______
No X
If “Yes”, how many total credits may be
earned?_______
5. Catalog Description (Limit to approximately 50 words.):
This course is designed to familiarize students with the recording, editing, and performance methods of sound
design for electronic media, (i.e. ADR, foley, digital sound effects, mixing, etc.), and to apply those techniques to
visual electronic media.
6. Method of Delivery (Check all that apply.)
a. Standard (lecture/lab) XX
On Campus
XX
Off Campus
b. Fully Online
c. Hybrid/ Web Enhanced
7. Grading Mode:
Normal (A-E)
XX
Credit/No Credit
8. Prerequisites: Courses that MUST be completed before a student can take this course. (List by Subject Code,
Number and Title.)
CTAT 130 – Intro to Electronic Media and Film Studies, CTAT 131 – Intro to Audio Production
and Direction and CTAT 132 – Intro to Video Production and Direction; or CTAT 141 Audio
and Video Production and Direction for non-majors.
9. Concurrent Prerequisites: Courses listed in #5 that MAY also be taken at the same time as a student is taking this
course. (List by Subject Code, Number and Title.)
None
10. Corequisites: Courses that MUST be taken at the same time as a student in taking this course.
(List by
Subject Code, Number and Title.)
None
11. Equivalent Courses. A student may not earn credit for both a course and its equivalent. A course will count as a
repeat if an equivalent course has already been taken. (List by Subject Code, Number and Title)
12. Course Restrictions:
a. Restriction by College. Is admission to a specific College Required?
College of Business
Yes
No
XX
College of Education
Yes
No
XX
b. Restriction by Major/Program. Will only students in certain majors/programs be allowed to
take this course?
Yes
No
X
If “Yes”, list the majors/programs
c. Restriction by Class Level Check all those who will be allowed to take the course:
Undergraduate
All undergraduates
Graduate
X
All graduate students____
Freshperson
Certificate
Sophomore
Masters
Junior
Specialist
Senior
Doctoral
Second Bachelor________
UG Degree Pending_____
Post-Bac. Tchr. Cert._____
Low GPA Admit_______
Note: If this is a 400-level course to be offered for graduate credit, attach Approval Form for 400-level
Course for Graduate
Credit. Only “Approved for Graduate Credit” undergraduate courses may be included on graduate
programs of study.
Note: Only 500-level graduate courses can be taken by undergraduate students. Undergraduate students
may not register for
600-level courses
d. Restriction by Permission. Will Departmental Permission be required?
Yes
No X
(Note: Department permission requires the department to enter authorization for every student registering.)
13. Will the course be offered as part of the General Education Program? Yes
No X
If “Yes”, attach Request for Inclusion of a Course in the General Education Program: Education for Participation in
the Global Community form. Note: All new courses proposed for inclusion in this program will be reviewed by the
General Education Advisory Committee. If this course is NOT approved for inclusion in the General Education
program, will it still be offered?
Yes
No
C. Relationship to Existing Courses
Within the Department:
14. Will this course will be a requirement or restricted elective in any existing program(s)? Yes__X____ No
If “Yes”, list the programs and attach a copy of the programs that clearly shows the place the new course will have
in the curriculum.
Program Electronic Media and Film Studies
Required
Restricted Elective X
Program
Required
Restricted Elective
15. Will this course replace an existing course? Yes
No X
16. (Complete only if the answer to #15 is “Yes.”)
a. Subject Code, Number and Title of course to be replaced:
b. Will the course to be replaced be deleted?
Yes
No
17. (Complete only if the answer #16b is “Yes.”) If the replaced course is to be deleted, it is not necessary to
submit a Request for Graduate and Undergraduate Course Deletion.
a. When is the last time it will be offered?
Term
b. Is the course to be deleted required by programs in other departments?
Contact the Course and Program Development Office if necessary.
No
Year
Yes
c. If “Yes”, do the affected departments support this change?
Yes
No
If “Yes”, attach letters of support. If “No”, attach letters from the affected department explaining the lack
of support, if available.
Outside the Department: The following information must be provided. Contact the Course and Program
Development office for assistance if necessary.
18. Are there similar courses offered in other University Departments? Yes
If “Yes”, list courses by Subject Code, Number and Title
No X
19. If similar courses exist, do the departments in which they are offered support the proposed course?
Yes
No
If “Yes”, attach letters of support from the affected departments. If “No”, attach letters from the affected department
explaining the lack of support, if available.
D. Course Requirements
20. Attach a detailed Sample Course Syllabus including:
a.
b.
c.
d.
e.
f.
g.
h.
Course goals, objectives and/or student learning outcomes
Outline of the content to be covered
Student assignments including presentations, research papers, exams, etc.
Method of evaluation
Grading scale (if a graduate course, include graduate grading scale)
Special requirements
Bibliography, supplemental reading list
Other pertinent information.
NOTE: COURSES BEING PROPOSED FOR INCLUSION IN THE EDUCATION FOR PARTICIPATION
IN THE GLOBAL COMMUNITY PROGRAM MUST USE THE SYLLABUS TEMPLATE PROVIDED BY
THE GENERAL EDUCATION ADVISORY COMMITTEE. THE TEMPLATE IS ATTACHED TO THE
REQUEST FOR INCLUSION OF A COURSE IN THE GENERAL EDUCATION PROGRAM:
EDUCATION FOR PARTICIPATION IN THE GLOBAL COMMUNITY FORM.
E. Cost Analysis (Complete only if the course will require additional University resources.
Fill in
Estimated Resources for the sponsoring department(s). Attach separate estimates for other affected departments.)
Estimated Resources:
Year One
Year Two
Year Three
Faculty / Staff
$_________
$_________
$_________
SS&M
$_________
$_________
$_________
Equipment
$_________
$_________
$_________
Total
$_________
$_________
$_________
F. Action of the Department/School and College
1. Department/School
Vote of faculty: For ___22____
Against __0____
Abstentions ___0______
(Enter the number of votes cast in each category.)
Department Head/School Director Signature
10/1/2015
Date
2. College/Graduate School
A. College
College Dean Signature
Date
B. Graduate School (if Graduate Course)
Graduate Dean Signature
Date
G. Approval
Associate Vice-President for Academic Programming Signature
Date
Sample Syllabus
CTAT 321 - Sound Design for Electronic Media and Film
Mr. Hanson 714K Pray-Harrold, Phone 734-487-7866
Email: mhanson@emich.edu
Overview
Sound Design is an essential component in the production of electronic media and film.
The craft and creative practice of sound production serves to enhance the overall experience of
film, animation, television, new media, gaming and visual arts.
This course introduces students to the techniques, theory and practice of sound design for
motion pictures and electronic media while gaining a practical sound design skill set.
As audio production work is often a collaborative undertaking, several of the course projects will
be executed via a group collaboration.
Objectives
The primary goals of this course are for students to develop a working knowledge of the
aesthetic and technical dimensions of sound design for electronic media. Students will develop a
fundamental skill set of creative production techniques in sound design that accompany visual
images with sound to enhance narrative productions for an audience. In addition to the course
production projects, students are also required to generate appropriate project documentation to
accompany their projects as required in professional audio practice.
Required Textbook: Soundtrack Success: A Digital Storyteller’s Guide to Audio PostProduction by Jeffrey P. Fisher (2012)
The assignments are weighted as listed on the chart below. Grades are calculated on a percentage
scale of 90-100 for an A range, 80-89 for a B range, 70-79 for a C range, etc.
Electronic Media and Film Studies must achieve a “C” or better in the course to receive credit in
the major, otherwise the course must be repeated.
Point system for Assignments
Project Cataloging
10 pts
Foley
15 pts
Digital Editing
15 pts
Looping/ADR project
15 pts
Production Music project
Location Sound Effects
Mixing project
Listening Exercise
Total
10 pts
10pts
15 pts
10pts
100pts
General Policies
As this is an upper-level production course it is expected that you will abide by standard course
rules such as regular attendance and participation in course lectures and full participation for
individual or group projects.
CELL PHONES, PAGERS, LAPTOPS, ALL PERSONAL COMMUNICATION DEVICES…
Unless the use of such items is directly related to your production, such devices are to be
powered off or silenced during lectures, presentations, or class screenings.
Projects
The projects for this course will model the production processes used in sound design for
electronic media. Each project requires diligent effort to complete the tasks at hand as well as
documentation of the project. Production projects for this course involve both individual and
group work. For each project, you will receive an assignment sheet that provides detailed
instructions for completion of the assignment. I will discuss each assignment in class and
perform in-class demonstrations.
Production Time
Production time is valuable, as many students need access to the production facilities to complete
their projects. If you miss your scheduled in-class production time you will receive a zero (0)
for your project grade and will be at substantial risk for failing the course. If you are late to
your scheduled production, you will be graded down significantly for that project.
Cataloging
The first step of sound design is taking inventory (cataloging) of all necessary sounds needed to
complete the audio soundtrack of a visual production. Then production lists are created to direct
the production, sequencing and mixing of these sounds toward the completion of the overall
sound design.
Foley
“Foley” is the process of creating sounds associated with incidental props and movement. The
most common of these sounds are footsteps followed by any visible props.
Location Sound Effects
Location Sound Effects recreate the atmosphere of a particular environment, these sounds my be
interior or exterior and are essential to helping create the “reality” of the visible environment.
Digital Sound Effects editing
For sounds that are not recreated by foley or captured on-location, the utilization of a digital
sound effects library and manipulation via a digital audio workstation will serve to
Looping/ADR
This process recreates voices via looping (individual actors) or group ADR (crowd sounds). This
is a challenging part of sound design as accurate synchronization is essential.
MIXING
“Mixing” is the process of balancing the three primary elements of dialogue, music and sound
effects into an aesthetically pleasing composite that enhances the verisimilitude of the visuals.
Course Schedule of Reading and projects
Week 1 – Introduction to course, course goals and facilities
Discuss Listening Exercise #1
Week 2 – Project cataloging
READ: Chapters 1-4 (Soundtrack, Audio Aesthetics, Sound, Workflow)
Listening Exercise 1 DUE
Week 3 – Automated Dialogue Replacement/Looping and Group ADR
READ: Chapter 13 – Voiceover, Chapter 14 – Recording ADR and Walla,
Chapter 15 – Editing Dialogue
Project Catalogues Due
Week 4 – Production Week - Produce looping/walla/ADR segments
Week 5 – Location Sound
Read Chapters 5 - Location Matters, 6 - Microphones, 7 - Building the Location
Sound Kit
Week 6 – Foley and Sound Effects
READ: Ch. 16 – Sound Effects, Ch. 17 – Foley and Backgrounds, Ch. 18 –
Sound Effects in Use
Week 7 – Production Week – Foley
Week 8 – Read Chapter 9 – Hearing Sound, Chapter 10 – Making and Recording
Sound, and Chapter 11 – Make Sound Sound Better
Week 9 - Production Week – Sound Effects (Digital or from scratch) and pre-mixing
WEEK 10 – PRE-MIX PROJECT REVIEWS AND EVALUATIONS
Week 11 – Mixing and Production Music - Read – C. 19 – Music & Ch. 20 - Mixing
Music Editing Demonstration
Week 12 – Sound Design Production Week – Using Production Music
Week 13 – Production Mixing/Editing
Week 14 – Production Mixing/Editing
Week 15 – Final Exam - Meeting (Class review of semester projects)
Sound Design Bibliography
Alten, S. (2010). Audio in Media (10th ed.). Belmont: Wadsworth.
Altman, R. (1992). Sound Theory, Sound Practice. New York: Routledge
Ament, V. (2014). The Foley Grail: The Art of Performing Sound for Film, Games and
Animation (2nd ed.). Waltham: Focal Press.
Beck, J. and Grajeda, T. (2008). Lowering the Boom: Critical Studies in Film Sound
Champaign: University of Illinois Press.
Beckerman, J. (2014). The Sonic Boom: How Sound Transforms the Way We Think, Feel and
Buy, Chicago: Houghton Mifflin Harcourt.
Brophy, P. (1999). Cinesonic: The World of Sound in Film. Sidney: AFTRS Publications.
Brophy, P. (2000). Cinesonic2: Cinema & the Sound of Music. Sidney: AFTRS Publications.
Brophy, P. (2001). Cinesonic3: Experiencing the Soundtrack. Sidney: AFTRS Publications.
Ciprianai, A. (2013). Electronic Music and Sound Design - Theory and Practice. (2nd ed.) Rome,
Contemponet: Upd.
Chion, M. (1994). AudioVision: Sound on Screen. New York: Columbia University Press.
Chion, M. (1999). The Voice in Cinema. New York: Columbia University Press.
Eyman, S. (1997). The Speed of Sound : Hollywood and the Talkie Revolution 1926-1930.
Baltimore. Johns Hopkins Univ Press.
Farrell, A. (2010). Designing Sound Cambridge, MIT Press
Fisher, J. (2012). Soundtrack Success Boston: CEngage Learning.
Forlenza, J. and Stone T. eds: (1993). Sound for Picture: An Inside Look at Audio
Production for Film and Television. Emeryville, MixBooks
Holman, T. (2010). Sound for Film and Television (3rd. ed.). Boston, Focal Press
Kenny, T. (2000). Sound for Picture: The Art of Sound Design in Film and Television.
New York. Mix Pro Audio Series.
Kerner, M. (1989). The Art of the Sound Effects Editor. Boston, Focal Press.
Kozloff, S. (1988). Invisible Storytellers: Voice-over narration in American Fiction Film.
Oakland, University of California Press.
Kozloff, S. (2000). Overhearing Film Dialogue. Oakland, University of California Press.
van Leeuwen, T. (1999). Speech, Music, Sound. London, Macmillan Press Ltd.
LoBrutto, V. (1994). Sound-on-Film: Interviews with Creators of Film Sound. Westport, Praeger
Publishers.
Mott, R. (2000). Radio Live! Television Live! : Those Golden Days When Horses Were
Coconuts. Jefferson. McFarland & Company.
Mott, R. (1990). Sound effects, radio, TV, and Film. Boston, Focal Press.
Lastra, J. (2000). Sound Technology and the American Cinema: Perception,
Represenation, Modernity. New York, Columbia University Press.
Purcell, J. (2007). Dialogue Editing for Motion Pictures: A Guide to the Invisible Art. Boston,
Focal Press.
Rose, J. (2000). Producing Great Sound for Digital Video. New York, Miller Freeman.
Silverman, K. (1990). Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema.
Bloomington, Indiana University Press.
Shrivastava, V. (1996). Aesthetics of Sound: Critical Analysis of Sound Design in Television and
Motion Pictures. Dubuque, Kendall/Hunt Publishing Company.
Sonnenschein, D. (2002). Sound Design: The Expressive Power of Music, Voice, and Sound
Effects in Cinema. Studio City, Michael Wiese Productions.
Truax, B. (2000). Acoustic Communication. New York, Ablex Pub Corp.
Viers, R. (2008). The Sound Effects Bible: How to Create and Record Hollywood Style Sound
Effects, Studio City, Michael Wise Productions.
Viers, R. (2012). The Location Sound Bible: How to Record Professional Dialog for Film and
TV, Studio City, Michael Wise Productions.
Whittington, W. (2007). Sound Design and Science Fiction. Austin, University of Texas Press.
Wyatt, H. (2004). Audio Post Production for Television and Film: An introduction to technology
and techniques. Boston, Focal Press.
Yewdall, D. (2011). The Practical Art of Motion Picture Sound (4th ed.) Boston, Focal Press.
Zaza, T. (1991). Audio Design: Sound Recording Techniques for Film and Video. Upper Saddle
River, Prentice-Hall.
Zettl, H. (1999). Sight Sound Motion: Applied Media Aesthetics. Belmont, Wad