Dept. of Music and Performing Arts Professions
Program in Scoring for Film and Multimedia
CONTEMPORARY SCORING: CREATIVE & TECHNOLOGICAL
PRACTICES
Sergi Casanelles (sergi.casanelles@nyu.edu) and Andrew Orkin
(andrew.orkin@nyu.edu)
Fall 2014 – Fridays 3-4:40 / 5 – 6:40
Studio F
COURSE DESCRIPTION
This hands-on course will both sharpen a composer’s aesthetic and raise the level of
proficiency in their use of an industry-standard complex of the software necessary for
composing and producing in film and media production. In tandem with
incorporating the ever-increasing quality and availability of digital audio production
software, including virtual instruments, media composers will deliver the pristine,
professional sounding music now expected for film, TV, videogames, songs and even
Broadway.
COURSE OBJECTIVES
At the end of the course, students will be able to:
 Analyze seminal contemporary scores and music, and identify their underlying
cultural and aesthetic significance as well as the technology and precise
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techniques necessary for their creation.
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Aesthetic and production trends: Students will identify the
predominant creative and technical approaches for music for media.
 Critically listen to a piece of music in order to suggest sonic improvements by
using the techniques learned during the course.
 Create professional music and mock-ups using the computer, facilitated by
creating an efficient, well-defined and consistent workflow.
 Demonstrate knowledge about the capabilities of the digital world and be able
to apply their skills to new sounds and plug-ins.
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Mixing: Students will identify and integrate the elements of
perspective, image, tonal shape, and space to bring their music to a
professional level
REQUIRED TEXTS AND EQUIPMENT
 Mac Computer with Logic X and Pro Tools.
 Professional Sample Libraries. This course will use East West Complete
Composers Collection 2 [http://www.soundsonline.com ]
 Access to Lynda courses using NYU home.
ASSESSMENT
Students will be assigned weekly assignments, using Logic or Pro Tools. Students
are also required to participate in class discussions.
20% Attendance and Participation
80% Weekly assignments
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Participation will be assessed by the presentation of their own assignments (10%)
and by comments, critique and insights to other students’ work and clips discussed
in class (10%). Students are required to show their material at least three times
during the semester. You should try to critically watch in advance all the movies that
we are going to discuss in class.
ASSIGNMENTS
You will have to submit your assignments using NYU Classes submission process. The
deadline is always Friday at 8 am. Late submissions will lower your grade. We will not
accept any assignment more than a week late.
Weekly assignments consist:
1. The session (Logic or ProTools)
2. An mp3 with the music
3. A report, on a PDF (half a page), explaining your process and your aesthetic
decisions. The report should explain how you applied what you have learned
the previous session in the music you wrote, and how this integrates with
your aesthetic vision. You should include screenshots of your session that
help to show how you used the techniques.
This means that you need to include a technical report of the instruments you
used (with a screenshot), a technical description of the techniques, an
aesthetic assessment. In addition it is good that you explain what you learned
and state your opinion.
Zip it in one single file.
So, ALL the assignments must include:
SESSION + MP4 + PDF
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Short / Technical Assignments
There will be a few short assignments dedicated to improve a particular
technique. The submission process is the same as the other assignments, but you do
NOT need to submit a PDF report for those assignments.
RECOMMENDED READINGS
There is no required reading for the class. The reading material in each class is
optional and should be used to complement or expand the contents of the lesson.
Cook, F. D. (2011). Pro Tools 101 -- An Introduction to Pro Tools 10 (Book & DVD) (1
ed.). COURSE TECH PTR.
Dvorin, D., & Brock, R. (2010). Apple Pro Training Series: Logic Pro 9 Advanced Music
Production (1 ed.). Peachpit Press.
Gibson, D. (2005). The Art of Mixing: A Visual Guide to Recording, Engineering, and
Production (2 ed.). Artistpro.
Huron, D. (2008). Sweet Anticipation: Music and the Psychology of Expectation
(Bradford Books). A Bradford Book.
Moylan, W. (2006). Understanding and Crafting the Mix, Second Edition: The Art of
Recording (2 ed.). Focal Press.
Wierzbicki, J., Platte, N., & Roust, C. (2011). The Routledge Film Music Sourcebook.
Routledge.
Yacavone, D. (2012). Spaces, Gaps, and Levels. Music, Sound, and the Moving Image,
6(1), 21-37. doi:10.3828/msmi.2012.4
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LYNDA ONLINE COURSES
To access them go to NYU Home  Academics  Lynda
CONTEMPORARY SCORING: CREATIVE & TECHNOLOGICAL
PRACTICES
WEEKLY SYLLABUS
> WEEK 1: 09/05
LOGIC - Introduction
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Syllabus, class structure and objectives
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Clip: Inception (2010)
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Hyperorchestral approach
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Basic Computer and Pro Audio Knowledge
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Logic Interface
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Moving, cutting and copying regions
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Signal Workflow. Using Reverb in Logic.
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Working with loops and with the logic Interface
-
Logic Drummer
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Loading Instruments.
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The Play interface
Creating a Template
Lynda online – READING/WATCHING
Logic Pro X Essential Training – Chapters Intro, 1-6, 10 [first section]
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http://www.lynda.com/Logic-Pro-tutorials/Logic-Pro-X-Essential-Training/963082.html?org=nyu.edu
New Ways to Create Music with Logic Pro X – Chapter 1: Meet the drummer
http://www.lynda.com/Logic-Pro-tutorials/New-Ways-Create-Music-Logic-ProX/124078-2.html?org=nyu.edu
Assignment 1
Write music for a scene using Apple Loops. Try to also use software instruments if
you wish and you already feel familiar. Explore new instruments.
> WEEK 2: 09/12
LOGIC - Working with MIDI: the basics
-
-
-
More on Logic Interface / Key Commands
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Markers /Track naming and coloring
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Changing the time signature
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Changing the tempo
Working with MIDI
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Changing tempo/signature. Creating tempo/time signature maps
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Recording / Capture recording
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Quantization and Advanced Quantization
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The Step Input Keyboard
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Manual Input and editing in the Piano Roll
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Velocity
Exploring Logic and East West Instruments
Introducing Contemporary Hollywood film music. Clips to discuss: Sherlock Holmes
(2010), The Social Network (2010), How to Train your Dragon (2010), Drive (2011)
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Lynda online – READING/WATCHING
Get in the Mix with Logic Pro All three chapters
http://www.lynda.com/Logic-tutorials/Get-Mix-Logic-Pro/137902-2.html?org=nyu.edu
New Ways to Create Music with Logic Pro X – Chapter 2 (if you have an iPad, 3
too)
http://www.lynda.com/Logic-Pro-tutorials/New-Ways-Create-Music-Logic-ProX/124078-2.html?org=nyu.edu
Assignment 2
Write music for the Opening Credits of Life of Pi (2012) with at least 10 different
instruments. You need to use at least one instrument that codifies India. Explore the
different options that you have in your samples (Ra, Silk) and in Logic Instruments
and Loops.
Name properly the tracks, put them in folders and color them. Manually change
velocities and quantization
> WEEK 3: 09/19
LOGIC – Modulation and Expression Curves, Layering, MIDI and Audio FX
-
Working with expression / modulation. Different ways of working with it
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Techniques for Strings, Brass and solo Woodwinds
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Layering sounds
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Using MIDI and AUDIO FX as a musical tool
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Arpegiator
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Delay
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Filter / EQ
Clips to discuss: Tron: Legacy (2010), Atonement (2007), Gravity (2013)
Assignment 3
Improve assignment 2 by using expression/modulation and other CC. Consider using
some MIDI or Audio FX if they work with your music.
> WEEK 4: 09/26
LOGIC - Synchronization / Strings
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Synchronization
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Using Markers and the Beat Mapping
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Redefining the meaning of an Instrument
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The String Section (Strategies)
 Sustain chords
 Legato passages (slow)
 Fast staccato and rhythmic passages
 Effects: Runs, Tremolos, Harmonics, pizz
Clips to discuss: Bourne Trilogy (2002, 2004, 2007), Man of Steel (2013)
Lynda online – READING/WATCHING
New Ways to Create Music with Logic Pro X – Chapter 4
http://www.lynda.com/Logic-Pro-tutorials/New-Ways-Create-Music-Logic-ProX/124078-2.html?org=nyu.edu
Logic Pro X Essential Training – Chapters 7-8
http://www.lynda.com/Logic-Pro-tutorials/Logic-Pro-X-Essential-Training/96308-
8
2.html?org=nyu.edu
Assignment 4
Score an action scene from Inception. Use markers and beat mapping to sync
multiple hit points by altering the tempo and time signatures. Use strings to
demonstrate your knowledge of diverse string techniques.
If you have the possibility to record, try to record some sound that would make your
piece unique. Explore and invent new sounding ideas.
Short Assignment (Strings)
Use the String techniques that you learnt to try to replicate a short excerpt from
Harry Potter.
> WEEK 5: 10/03
LOGIC - Brass and Woodwinds
-
-
Brass
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Horns as the String’s “glue”
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Techniques to achieve a Big Brass sound. The advantages of layering.
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Creating a realistic and expressive crescendo.
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Staccatos, sf
Woodwinds
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Solo writing
 Expression as breath control
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Doubling brass or Strings
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Runs
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Staccato accompaniment
Clips to discuss: The Dark Knight (2008), the Dark Knight Rises (2012)
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Lynda online – READING/WATCHING
Making Beats in Logic Pro X – Chapter 1-2 and 9 at least
http://www.lynda.com/Logic-Pro-tutorials/Making-Beats-Logic-Pro-X/1515502.html?org=nyu.edu
Assignment 5
Write music for a clip from Gravity. Use mostly Brass and Woodwinds. You can
extensively use Audio and MIDI FX to modify and transform the sound. If you
feel comfortable you can introduce some synthesizers. Avoid using Strings for
this assignment and try to avoid using any percussion.
You can use brass hits with distortion in order to create a similar effect to a
percussion hit but that would sound more interesting for the scene.
By doing all of that, try to create some set of sounds that actually sound
unique and different. You will have created a hyperinstrument!
Short Assignment (Brass)
Use the Brass techniques to replicate, as close as possible, a French horn solo form
Saving Private Ryan.
Short Assignment (Woodwinds)
Use the Woodwind techniques to replicate, as close as possible, a solo flute passage.
> WEEK 6: 10/10
LOGIC - Sampled and Synthetic Percussion and the expanded orchestra
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Using Parallel compression
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-
-
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Orchestral Percussion
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Cymbals
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Timpani and Rolls
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Bass Drums
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Mallets
Storm Drum
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Toms and big drum ensembles
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Godzilla and similar
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Shakers
Exploring Logic Synths
Clips to discuss: Tron Legacy (2010), Hanna (2011), The Hobbit (2012)
Lynda online – READING/WATCHING
Logic Pro X Essential Training – Chapters 12
http://www.lynda.com/Logic-Pro-tutorials/Logic-Pro-X-Essential-Training/963082.html?org=nyu.edu
Assignment 6
Write an Epic music clip (2 – 3 minutes) using contemporary Hollywood Scoring
techniques. Extensively use complex percussion patterns. For the percussion you
should try to use parallel compression.
Incorporate distortion, delays etc. in some of your tracks.
The piece should have some sort of structure with some development in terms
of intensity and sound color.
Short Assignment (Percussion)
Listen to a rhythmic texture and try to replicate it in Logic
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> WEEK 7: 10/17
LOGIC - HyperOrchestration
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Redefining the definition of orchestration
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Template strategies
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Combining everything together
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Using loops as an orchestration resource
Clips to discuss: The Hunger Games (2012), Looper (2012), Cloud Atlas (2012), The
Avengers (2012)
Assignment 7
Write music for a clip for a big ensemble, using multiple instruments (try to use more
than 30).
SECTION II - PROTOOLS
> WEEK 8:
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Pro Tools Basics:
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Creating a session and proper file management
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Pro Tools layout, Mix and Arrange Windows
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Importing audio and Logic stems
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Track organization and coloring
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Grouping
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Signal flow, Busses, Sends and Master Fader
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Importing MIDI file for Tempo Map and Time Signature
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Altering Session Start Time and tempo
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Assignment 8
Using the knowledge gained from the Lynda Tutorial as well as the standardized
session in class import stems from one of your own cues and create the proper file
structure, signal paths, groupings and organizational tools for a Pro Tools session.
> WEEK 9:
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Basic Audio Editing
-
Using the Multitool and basic keystrokes for quick editing
Where to place your edit and cutting to correctly to transients
Crossfades
- Basic Mixing Techniques
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Compression
Subtractive and Additive EQ
Reverb
Panning
Assignment 9
Online quiz. Create an edit on your piece, extending a section of your choice as well
as using basic mixing techniques to add clarity and body to your piece.
> WEEK 10:
- Editing a Live Session
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Working with Playlists
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Basic layout, editing to create a "comp"
Stripping silence and creating smooth entries and exits
Editing multiple tracks using groups
Nudging audio to align with click track and prerecords
Volume automation
Getting live stems and MIDI to "sit" in the same space.
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Assignment 10
Import your pre-records, MIDI/Tempo map and live stems from your guitar session,
then create a "comp" of your live stems and perform a rough mix.
> WEEK 11:
-
Comprehensive Mixing Part I
- EQ
- Summing, and how to avoid it
- Instrument specific EQ, creating clarity within the frequency spectrum
- Reverb
- Understanding the difference between small and large spaces, and how
those interact.
- Bussed reverb versus individual reverbs
- How reverb affects the tonal shape. Re-adjusting EQ after adding reverb.
- Panning
- Placing individual instruments within the stereo spectrum
- How panning affects the perceived volume.
- Adjusting pans to leave room for dialog and sound effects in film.
Assignment 11
Using your session from Assignment 10, create further clarity in your mix using EQ
and panning. Pay attention to individual instrument's placement within both the
frequency and stereo spectrums and use two different reverbs to create a realistic
sense of depth in your mix.
> WEEK 12
- Comprehensive Mixing Part II
- Grouping, balancing and panning complex microphone setups
- XY, Decca Tree and Stereo Pair
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- Close mics vs Room mics in the mix
- Reverse panning for more perceived depth
- Matching individual instruments (and their spot mics) to the room mics,
using level, EQ, panning, reverb.
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Subs/stems for Strings, Winds, Brass, Percussion, etc.
- Using volume automation on stems vs individual tracks.
- Adding stem masters. Adding inserts to stem masters.
- Adding a Master track. Adding inserts to the Master track.
Assignment 12
Using your live recording from your bigger ensemble sessions, mix the live tracks and
pre-records to produce a natural and compelling mix. Create separate groups and
stems for instrumental sections. Mix the session using volume automation on
individual tracks and sub-groups, as needed.
> WEEK 13:
- Feedback and further miscellaneous mixing tips
- The use of reference tracks for A/B testing
- Parallel compression
- Creative mixing, using un-natural or extreme reverb/delays, panning,
compression, etc.
- Matching individual instruments to equivalent sample/synth tracks
- Basic Mastering
- Adding shimmer, punch or body to your mix
- Master Bus compression
- Limiters
- Adding in clip's dialogue and SFX.
Assignment 13
Using your session from Assignment 12, import a reference track that matches your
desired mix and use the techniques above to emulate your chosen reference.
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Tastefully make use of one creative mixing technique to add intrigue to your mix.
Perform a basic master on your session and export a stereo mix of both the music as
well as a combination of your music and the clip's dialogue and SFX.
> WEEK 14:
- Delivery Etiquette and Roundup
- Review of final mixes
- Stem and full-mix delivery
- Labeling of stems and full mixes with timecodes
- Compression standards and respective labeling
- Delivering files 24bit, 48khz
- Open Discussion
* * *
EVALUATION RUBIC
A= Excellent
This work is comprehensive, detailed, and original. It incorporates concepts from
discussions, lectures and readings creatively. Work demonstrates understanding of
the underlying aesthetic ideas discussed in class. The assignments demonstrate
proficiency in the techniques discussed in class and its underlying aesthetics. In
addition, the usage of the tools learned are creative and beyond the examples in
class. Class presentation is complete and proposes creative uses of the concepts
learnt. Comments to other student’s work are frequent and insightful.
B=Good
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Work demonstrates understanding of the underlying aesthetic ideas discussed in
class. The assignments demonstrate proficiency in the techniques discussed in class.
Class presentation is complete. Classroom participation is consistent.
C=Average
This work is correct but superficial. Assignments show some superficial understanding
of what have been discussed in class. They show some superficial understanding of
the techniques. Class presentation fails to demonstrate knowledge of the concepts
discussed in class. Classroom participation is inarticulate.
D= Unsatisfactory
This work is incomplete, and evidences little understanding of the discussions and
techniques explained in class. Assignments demonstrate inattention to detail,
misunderstand course material and overlook significant concepts. Classroom
participation is spotty, unprepared and off topic.
F=Failed
This grade indicates a failure to participate and/or incomplete assignments
ACADEMIC INTEGRITY
All students are responsible for understanding and complying with the NYU
Steinhardt Statement on Academic Integrity. A copy is available at
http://steinhardt.nyu.edu/policies/academic_integrity.
STUDENTS WITH DISABILITIES
Students with physical or learning disabilities are required to register with the Moses
Center for Students with Disabilities (http://www.nyu.edu/csd/, 719 Broadway, 2nd
Floor, 212-998-4980) and are required to present a letter from the Center to the
instructor at the start of the semester in order to be considered for appropriate
accommodation.
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