Request for New Course
EASTERN MICHIGAN UNIVERSITY
DIVISION OF ACADEMIC AFFAIRS
REQUEST FOR NEW COURSE
DEPARTMENT/SCHOOL: _COMMUNICATION, MEDIA & THEATRE ARTS______COLLEGE:
ARTS & SCIENCES
CONTACT PERSON: ___MELANIE SCHUESSLER___________________________________________________________________________
CONTACT PHONE:
7-0032
CONTACT EMAIL:
MSCHUESS@EMICH.EDU
REQUESTED START DATE: TERM____FALL_________YEAR_____2011______
A. Rationale/Justification for the Course
The Arts, Entertainment and Recreation industry is predicted to grow 15% by 2018 according to the Bureau of
Labor Statistics (second only to the field of Healthcare and Social Assistance). The impetus for creating this class in the
Department of Communication, Media and Theatre Arts is, quite simply, to capitalize on the growth of this field and
create a multidisciplinary program of study that will give students a solid foundation to work in today’s
entertainment industry.
Though coursework and classroom projects are necessary foundations for technical and design work, there is no
substitute for hands-on experience. The mainstage shows produced by EMU Theatre provide an ideal laboratory where
technical and design students can experience the full spectrum of work that a fully-realized theatrical production
entails. Students will have experienced a position of responsibility backstage in CTAA 167 (Theatre Practice), and so
will be familiar with the processes and scheduling necessary to the technical and design aspects of theatre. This course
is intended to take them to the next step, which is that of creating some of the content of the show. Possible positions
that students might hold include Stage Management and Set, Costume, Light, Sound, or Projection Designer. These are
positions requiring participation in the entire design and production process and collaboration with faculty designers
and directors. This kind of experience is crucial for students considering a career in the design or technical aspects of
the entertainment industry.
Please note that because Applied Design and Technology I is not a traditional-delivery course, the syllabus will follow
the design and production schedule rather than the semester.
B. Course Information
1. Subject Code and Course Number:
CTAR 368
2. Course Title:
Applied Design and Technology I
3. Credit Hours:
1
4. Repeatable for Credit? Yes_______
No___X___
If “Yes”, how many total credits may be earned?_______
5. Catalog Description (Limit to approximately 50 words.):
A laboratory course in which students will fulfill a major technical or design role in a mainstage production within the
department or other approved on-campus production.
6. Method of Delivery (Check all that apply.)
a. Standard (lecture/lab) X
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On Campus
X
Off Campus
b. Fully Online
c. Hybrid/ Web Enhanced
7. Grading Mode:
Normal (A-E)
X
Credit/No Credit
8. Prerequisites: Courses that MUST be completed before a student can take this course. (List by Subject Code, Number and Title.)
CTAA 167 Theatre Practice
CTAR 268 Portfolio Development
9. Concurrent Prerequisites:
Code, Number and Title.)
Courses listed in #5 that MAY also be taken at the same time as a student is taking this course. (List by Subject
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.)
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
X
College of Education
Yes
No
X
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
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Graduate
All undergraduates____X___
All graduate students____
Freshperson
Certificate
Sophomore
Masters
Junior
Specialist
Senior
Doctoral
Second Bachelor________
UG Degree Pending_____
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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
X
No
(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
No
X*
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.
*It will be a requirement in the proposed “Entertainment Design and Technology” major and minor.
Program
Required
Restricted Elective
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
Year
b. Is the course to be deleted required by programs in other departments?
Contact the Course and Program Development Office if necessary.
Yes
No
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?
If “Yes”, list courses by Subject Code, Number and Title
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Yes
No
X
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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.)
Based upon current enrollment trends, our instructional resources (faculty, staff, full/part-time lecturers), equipment, and
established course offering patterns are sufficient to add this course to the theatre curriculum.
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 ____29______
Against ___0_______
Abstentions ____0______
(Enter the number of votes cast in each category.)
8/21/12
Department Head/School Director Signature
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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
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Date
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Applied Design and Technology I
CTAR 368
Professor
Jeromy Hopgood
Quirk 100
jhopgood@emich.edu
487-0030
Office Hours
Monday-Thursday 11:00-1:00
or by appointment
Course Description
This course is designed as a one-on-one laboratory approach to design for the stage. The curriculum and timetable are customized for your
individual design project.
In this instance, you are serving as the sound designer for Shakespeare’s Hamlet. As such, your weekly assignments and assessment will
directly relate to the product you are creating for dissemination on the Quirk stage.
As the course is individualized to your particular work for this semester, please note that work begins on September 14th and during the period
of October 12-22nd your work will be intensely focused around evenings and weekends for technical rehearsals of Hamlet.
We will meet twice weekly: Once will be an individual meeting to discuss your role and assignments. The second meeting will be the regularly
scheduled production meeting for Hamlet in which you will present your work for the entire production team.
Course Outcomes
Students will understand the collaborative production process for a theatrical performance. Students will understand the tools and instruments
of sound design and be familiar with their use. Students will conduct and present research necessary to implementing a sound design. Students
will create a written concept statement articulating your thoughts on your proposed sound design. Students will use a digital audio workstation
(DAW) to create and/or edit sound for playback. Students will generate the paperwork and graphic elements necessary to implementing a
sound design.
Assignments and Grading
The entertainment industry is a world of deadlines. By taking this course, you are also committing yourself to creating a product that will
represent yourself, the Department and the University to the public. This is a privilege and a major responsibility. Assignments are directly
related to the timetable of your production. As such, if you don’t do your assignments, you are not fulfilling your obligation to the show. Do
not take this responsibility lightly – all assignments are due at their assigned time!
Points
100
100
100
100
100
200
200
100
1000
Assignment
Sound research
Concept statement
Sound plot
Cue Sheet
QLab playback file
Sound design
Participation
Post Mortem
Total
divided by 10 will be your final grade
Absence Policy
You are allowed one unexcused absence. Each subsequent absence will earn a 1/3 letter-grade reduction.
Schedule
WEEK 1
Tu
9/14
Fri
9/17
Project guidelines for sound design & scheduling
Production Meeting 1
WEEK 2
Tu
9/21
Fri
9/24
Research Assesment & scheduling
Production Meeting 2 (Present Research)
WEEK 3
Tu
9/28
Concept Assesment & scheduling
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Fri
10/1
WEEK 4
Tu
10/5
Fri
10/8
WEEK 5
Tu
10/12
Fri
10/15
Production Meeting 3 (Present Concept Statement)
Digital audio workstations & scheduling
Production Meeting 4 (Present Recordings)
Playback systems, setup and scheduling
Paper Tech 10am
Production Meeting 4 (Final prep before tech)
WEEK 6
Sun
10/17
Mon
10/18
Tu
10/19
Wed
10/20
Th
10/21
Fri
10/22
Tech Week: Cue to Cue (1pm-10pm)
Tech Week: 1st tech (5-11pm)
Tech week: 1st dress(5-11pm)
Tech week: 2nd dress(5-11pm)
Tech week: Final dress(5-11pm)
Opening Night – 7pm
WEEK 7
T
10/26
Personal Assesment
WEEK 8
T
11/2
F
11/5
Self / process evaluation
POST MORTEM
Project Guidelines for
Student Sound Design
The role of production designer is a privilege, not necessarily a guaranteed opportunity, for students at Eastern Michigan. As such, there should
be stringent guidelines establishing the requirements for student designers. What follows is a description of the process a student lighting
designer should adhere to for an enjoyable and professional process.
1.
READ THE PLAY – LOTS!!!!!!
2.
Director concept / input
The successful production is centered on the director’s concept. Think of the director’s production concept as the nucleus of an atom.
There are several designers and technicians involved in every production, but they do not operate on their own. Like electrons, a
designer’s work revolves around the nucleus of the director’s vision, and everything that a designer does must be based on this central
vision.
This means that step one of any design process lies in open communication with the director, and understanding what it is that the
director wants to say to the audience.
During this step, let the director communicate his/her ideas first before launching into question-mode. If you do question, use it as an
opportunity to clarify a point that you don’t understand. After the director communicates his/her needs, then you can ask questions that
might inform your design process. Some important things to ask might be:
-What are some short, descriptive words or phrases that you could use to communicate the “feel” you want for this scene/show?
-Are there certain types of music or sound effects you have in mind?
-Will there be any live musicians or performers?
-Do you want to underscore the action or just use sound for transitions and effects?
-Is pacing a concern (i.e. should transitions be abrupt or slow)?
3.
Research & collaborative discussion
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Research is the best friend of the designer. Your main concern for this step of the design process is finding initial music or sounds to
show to the director. These are only thoughts, at this point. DO NOT GET MARRIED TO THEM! What you think of as perfect might
not work for what the director has in mind.
It is of the utmost importance to present this information as organized a fashion as possible. Don’t take up everyone’s time by having a
ton of sounds files in different locations that you have to dig for. Burn it all to a CD, file, or playlist so you don’t have to scrounge for
them.
Likewise, there is probably no need to play 3-5 minute songs for the director to get the idea. Try snippets instead and just give a taste.
This step of the process can be multi-tiered. If your first pieces don’t exactly fit within the confines of the production concept, you
must be prepared to go back to the drawing board. This is where the collaboration comes in to play. Be prepared for this eventuality!
4.
Design statement
Most people work best when given a set of parameters within which they are confined. This is typically true of a production design, as
well. The director’s concept is the “set of rules” that you will be given to lead you to your design choices.
The design statement is your “contract,” so to speak, with your director. Once you have researched the show and communicated with
the director and design team, you should begin to put down some ideas on paper of what you want to do with the sound design, in
order to communicate the needs of the script and director’s concept. This will let the director know what direction you intend to take
the design, and will serve as your own parameters for fleshing out the design.
Important ideas are often: style; metaphor (is this some section of music that will “stand” for something else and be used as a recurring
theme?); effects (will the music be clean or sent through effects engines like Garage Band to distort it in some way?).
This should be written in a clear and concise fashion, like any theme paper. Keep it under 1 page in length, if at all possible. Stick to
two to three concepts that you want your design to convey. Always remember what you learned (or should have learned) back in high
school about writing a paper:
Intro – Point 1 – Point 2 – Point 3 – Conclusion.
If in need of an example, see Jeromy Hopgood for some that have been used here in the past.
5.
Research
Look into different sound libraries (like the BBC collection we own) or various ones available online (se Jeromy Hopgood for links)
or databases available through the university. Listen to lots of different songs and sound effects. Start familiarizing yourself with a
wide variety.
If the show is set in a certain time period or region, look into what was popular in that time or place. Likewise, the director may well
have some suggestions for inspiration.
This is especially important if you intend to compose original pieces for the show. If you are creating original music, you need to have
something to use as a springboard for conversation with your director. Ask if they like this style, or if it works for them.
DO NOT WASTE YOUR TIME ON CREATING SOMETHING FROM SCRATCH IF IT ISN’T GOING TO BE USEFUL TO THE
PRODUCTION.
6.
Recordings
Decide early on if you will need to do any recordings of music or voice-overs. This could apply to a number of items (pre-recorded
music, curtain speeches, special effects, etc). If a recording session is required, make arrangements early so as to give yourself enough
time to assemble talent, equipment, space and so forth. In some instances, the Department’s recording equipment and facilities might
be available to you, but you must check with John Charles / Steve Martin to arrange for special use. Likewise, if you have performers
to play for you, you will likely need to arrange some type of payment for their work. A lot of planning must go into recordings, so be
aware of this going into the process.
7.
Sound Plot
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Draftings aren’t just for the other designers! A sound plot is often a good idea if you are using any specialty equipment or placing
speakers in unique locations. Should you be using anything other than the standard sound set-up, you should create a plot detailing
placement of speakers or sound equipment. This will assist you in planning for your programming and set-up and also show the other
designers what you have in mind for placement of equipment backstage. Remember, this is everyone’s space, so don’t just take for
granted you will be able to put your equipment wherever you like!
8.
Design Run
As a designer, you must attend the design run in order to get a feel for timing, locations, cue length, etc…
This is also the time to sit down with the director and run some ideas past them, for moments. This is the first time the director and
you will have an opportunity to see the show together without them working scenes, so it is a good opportunity for you to
communicate.
Bring a stopwatch to time moments. This is essential to knowing the length of cues you will be making!
After you have had time to gestate on what you’ve seen and discussed, start marking moments in your script of when you think a cue
might be. Don’t number yet, since things may change. This becomes the basis of your cues for later.
9.
Paperwork
One of the most tedious, yet fundamental duties of the sound designer is to create paperwork for their design. This is useful for
planning your cues and communicating how cues will work to the SM during paper tech.
Cue Sheet: All sound designers must create a list of cues that run during the show. This paperwork details information like Cue name,
time, cue prompt, description, patch (which speaker it comes from), fades and more.
All of this information must be accurately updated as it changes. You should provide a date on the cover, so that there is no confusion
in reading older versions.
To create paperwork, I suggest using Microsoft Excel or another type of spreadsheet software like Google docs.
10. Paper Tech
Paper Tech is the time for you to make sure the stage manager and director know EXACTLY what you have in mind for the show.
You should already have all your cues marked in your script and have a cue list created in a spreadsheet format.
For paper tech, you will walk through the script with the stage manager and director, giving the S.M. the opportunity to mark cues in
his/her prompt book. Be prepared to describe exactly what you want to happen with this cue and why. The director may also have
some ideas for cues that you hadn’t conceived of. This is your last chance before going into tech to work out what will happen, and
when.
The stage manager will be calling the cues for the show, during the run. This means that it is imperative for you to describe to him/her
the exact timing and motivation for each cue (i.e. when Macbeth falls to the ground, or on the line “Aha, I’ve got you!”).
All lighting cues will be listed as numbers: Q1, Q2, Q3, Q4…
All sound cues will be listed as letters: A, B, C…
All special effects cues will be listed as FX cues: FX1, FX2, FX3…
11. Equipment Set-up
For our theatres here at Eastern, we tend to use a modular sound setup that allows us to customize the sound system for each different
show. This is an excellent learning opportunity for a young designer, but can also be a source of frustration and confusion if handled
poorly.
Schedule in time in the 2 weeks before opening to get the sound system set up and tested. Standard equipment to be aware of:
- Clear com communication packs
- Assistive listening equipment
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-
QLab playback computer
Microphones
Peripherial musical instruments (rarely)
Amplifiers
Speakers
Backstage / greenroom monitors
Cabling and cable-dressing for all said equipment
12. Cueing
Cueing is creating the tempo and pacing of the show. You, and only you, are responsible for creating this. It must be completed
between paper tech and first tech. This often means mornings or evenings. It is vital that you have the time to work out the cueing, so
talk to the TD about when you will have time in the space.
You will be creating the show using QLab, a cueing software available only for Mac’s. If you have access to a Macintosh computer,
you can install a free version of QLab to test. See Jeromy Hopgood for this software and to set up a training session with you, if
necessary.
You should spend some time before the cueing process familiarizing yourself with QLab and its capabilities.
13. Tech rehearsals
Techs, especially in the early stages, are for the designers. This is your only opportunity to get timing down, set levels, and work
transitions with all the other design elements. If you need to re-run something, don’t be afraid to ask the stage manager to call
“HOLD,” and you can go back to tweak the moment.
You will be working closely with the director, stage manager, mentor and your board operator (if you have one). Talk to the director
and mentor frequently. We can assist you in getting the best results, since we’ve been here before. Ultimately, this is a collaborative
effort, so don’t be afraid to ask for support. That’s our jobs!
14. Performances
In some cases you will have a board operator running the show for you, sometimes you will be running the show yourself. This is
decided on a show-by-show basis. If you are running the show, it is your responsibility to consistently run the show in the same
fashion from night to night. If you have a board op, you should have trained him/her to be self-sufficient by this point.
Either way, The SM will send rehearsal reports every night to tell what happened and if there are any immediate needs. This is
important to read, because this is your chance to see if there were mistakes or problems that must be addressed before the next
performance.
To re-cap, these steps listed above are a guideline for you to follow as a student designer. Sometimes there may be more or less to do than
detailed above, but this serves as an excellent checklist for you to know if you are on the right track. Every show will always be different but,
after reading this handout, you should know what will be coming down the pike and can plan ahead accordingly.
Congratulations on being awarded the privilege of designing a show here at Eastern. Good luck and I hope you have a great experience.
Bibliography
Cousins, Mark and Heppworth-Sawyer, Russ. Logic Pro 8: Audio and Music Production. Burlington, MA: Focal Press, 2008.
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Cancellaro, Joseph. Exploring Sound Design for Interactive Media. Boston, MA: Delmar Learning, 2006.
Farnell, Andy. Designing Sound. Boston, MA: MIT Press, 2010.
Gillette, J. Michael. Theatrical Design and Production: An Introduction to Scene Design and Construction, Lighting, Sound, Costume, and
Makeup. Fifth Edition. New York, NY: McGraw Hill, 2008.
Kaye, Deena, and Lebrecht, James. Sound and Music for the Theatre: The Art and Technique of Design. Third Edition. Burlington, MA: Focal
Press, 2009.
Leonard, John A. Theatre Sound. New York: Routledge, 2001.
Parker, W. Oren, Wolf, R. Craig, and Block, Dick. Scene Design & Stage Lighting. Ninth Edition. Boston: Wadsworth, 2009.
Sider, Larry. Soundscape: The School of Sound Lectures, 1998-2001. Second Edition. London, UK: Wallflower Press, 2007.
Sonnenshein, David. Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. Studio City, CA: Michael Wiese
Books, 2002.
Viers, Rick. The Sound Effects Bible: How to Create and Record Hollywood Sound Effects. Studio City, CA: Michael Wiese Books, 2008.
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