UCC/UGC/ECCC
Proposal for New Course
Please attach proposed Syllabus in approved university format.
1. Course subject and number: CMF 438
2. Units:
See upper and lower division undergraduate course definitions.
3. College:
Social & Behavioral Sciences
4. Academic Unit:
3
School of
Communication
5. Student Learning Outcomes of the new course. (Resources & Examples for Developing Course Learning
Outcomes)
Students will:
1. Apply the foundations, practices, and transforming nature of audio documentary work.
2. Record natural sound ambience and dialogue with strong microphone presence.
3. Demonstrate writing skills unique and central to a listening audience.
4. Produce sound-rich and complex audio documentaries through the recording of separate
sound and mixing them together into a cohesive story.
6. Justification for new course, including how the course contributes to degree program outcomes,
or other university requirements / student learning outcomes. (Resources, Examples & Tools for Developing
Effective Program Student Learning Outcomes).
This course is offers a much needed supplement to a program comprised of primarily visual
courses in CMF and JLS (film and photo-j). Audio documentary is a tradition we hear every
day on the radio (NPR, This American Life, RadioLab), but we have no formal course on it.
This course will help offset this problem and allow students to explore audio documentaries
as an alternative to visual. In addition, this course helps fulfill needs in our graduate program
in Documentary Studies.
7. Effective BEGINNING of what term and year?
See effective dates calendar.
Fall 2015
8. Long course title: SONIC STORYTELLING: LONG FORM AUDIO DOCUMENTARY
(max 100 characters including spaces)
9. Short course title: SONIC STORYTELLING
(max. 30 characters including spaces)
10. Catalog course description (max. 60 words, excluding requisites):
This is an advanced audio production course focusing on the development and production of
long form audio documentary.
Effective Fall 2012
11. Will this course be part of any plan (major, minor or certificate) or sub plan (emphasis)?
Yes
If yes, include the appropriate plan proposal.
Creative Media and Film; B.S.
No
12. Does this course duplicate content of existing courses?
Yes
No
If yes, list the courses with duplicate material. If the duplication is greater than 20%, explain why
NAU should establish this course.
13. Will this course impact any other academic unit’s enrollment or plan(s)?
Yes
No
If yes, describe the impact. If applicable, include evidence of notification to and/or response from
each impacted academic unit
14. Grading option:
Letter grade
Pass/Fail
Both
15. Co-convened with:
14a. UGC approval date*:
(For example: ESE 450 and ESE 550) See co-convening policy.
*Must be approved by UGC before UCC submission, and both course syllabi must be presented.
16. Cross-listed with:
(For example: ES 450 and DIS 450) See cross listing policy.
Please submit a single cross-listed syllabus that will be used for all cross-listed courses.
17. May course be repeated for additional units?
16a. If yes, maximum units allowed?
16b. If yes, may course be repeated for additional units in the same term?
Yes
No
Yes
No
18. Prerequisites:
CMF 235
If prerequisites, include the rationale for the prerequisites.
This course requires students to understand basic audio recording techniques, handling
audio recorders and microphones, and how to use editing software—all of which is covered in
CMF 235.
19. Co requisites:
If co requisites, include the rationale for the co requisites.
20. Does this course include combined lecture and lab components?
Yes
No
If yes, include the units specific to each component in the course description above.
Mark Neumann, Kurt Lancaster,
21. Names of the current faculty qualified to teach this course: Toni DeAztlan
22. Classes scheduled before the regular term begins and/or after the regular term ends may require
additional action. Review “see description” and “see impacts” for “Classes Starting/Ending
Effective Fall 2012
Outside Regular Term” under the heading “Forms”
http://nau.edu/Registrar/Faculty-Resources/Schedule-of-Classes-Maintenance/.
Do you anticipate this course will be scheduled outside the regular term?
Yes
No
23. Is this course being proposed for Liberal Studies designation?
If yes, include a Liberal Studies proposal and syllabus with this proposal.
Yes
No
24. Is this course being proposed for Diversity designation?
If yes, include a Diversity proposal and syllabus with this proposal.
Yes
Answer 22-23 for UCC/ECCC only:
No
FLAGSTAFF MOUNTAIN CAMPUS
Scott Galland
Reviewed by Curriculum Process Associate
11/24/2014
Date
Approvals:
Department Chair/Unit Head (if appropriate)
Date
Chair of college curriculum committee
Date
Dean of college
Date
For Committee use only:
UCC/UGC Approval
Date
Approved as submitted:
Yes
No
Approved as modified:
Yes
No
EXTENDED CAMPUSES
Reviewed by Curriculum Process Associate
Approvals:
Effective Fall 2012
Date
Academic Unit Head
Date
Division Curriculum Committee (Yuma, Yavapai, or Personalized Learning)
Date
Division Administrator in Extended Campuses (Yuma, Yavapai, or Personalized
Learning)
Date
Faculty Chair of Extended Campuses Curriculum Committee (Yuma, Yavapai, or
Personalized Learning)
Date
Chief Academic Officer; Extended Campuses (or Designee)
Date
Approved as submitted:
Yes
No
Approved as modified:
Yes
No
Effective Fall 2012
College of Social & Behavioral Sciences
School of Communication
CMF 438 Sonic Storytelling: Long Form Audio Documentary
Syllabus
Fall 2015
3 credit hours
Dr. Mark Neumann
Office 373, School of Communication
Office hours: T/Th 11am-12pm, and by appt.
Mark.Neumann@nau.edu
Course prerequisite: CMF 235
Course Description:
This is an advanced audio production course focusing on the development and production of long
form audio documentary. This course builds on fundamental reporting and production skills taken in
other courses. This course will emphasize a development of audio documentary that underscores the
importance of advanced sound recording, the use of sound in scenic construction, documentary
narrative structure, point of view and “writing for the ear.” Audio documentaries are sonic
representations of real issues, places, situations, events, communities, and individuals that are
treated with an aesthetic and narrative sensibility. This course will provide students with an
understanding of audio documentary history, the importance of archival recordings and knowledge of
different audio documentary styles and approaches. In addition, students will engage in the advanced
production of audio documentary work by developing skills in sound recording, interviewing, reporting,
editing, and narrative.
Student Expectations/Outcomes:
Students will:
1. Apply the foundations, practices, and transforming nature of audio documentary work.
2. Record natural sound ambience and dialogue with strong microphone presence.
3. Demonstrate writing skills unique and central to a listening audience.
4. Produce sound-rich and complex audio documentaries through the recording of separate sound
and mixing them together into a cohesive story.
Course Structure
This course will offer a combination of lectures, group listening, and discussions based on common
readings and audio work. The class will be conducted with a blend of lectures, workshops, exercises
& critiques/discussions. There will be weekly reading, viewing, writing assignments and/or recording
and editing exercises. Students must attend the class regularly, be involved in class discussions, turn
assignments in on time, and be up to date with readings. In addition, students will be responsible for
a midterm and final audio project.
Effective Fall 2012
Required Readings:
Required course readings, audio recordings, and websites will be posted on the class website (Bb
Learn), available on-line or distributed in class meetings. Please consult course outline.
Equipment and Editing: The School has field recording kits that can be checked out from the central
equipment room. The School’s classrooms and labs have Final Cut X editing software, which can be
used for editing and mixing. Students may use their own editing software. Please see instructor for
recommendations on the pros and cons of various audio editing software.
Course Outline
I. Introduction (week #1)
The initial week of this course will be devoted to providing a class overview, a discussion of the goals
and objectives for the class, and discussing potential topics and themes for audio documentary
projects. We will also discuss recording and editing equipment.
II. Identifying stories for audio documentary projects (week #2)
This week’s class will be devoted to discussing your documentary project ideas and topics. This class
will run as a workshop with students presenting their ideas and discussing the possibilities and
problems associated with the topics. This class will be an effort toward refining and focusing on
possible topics.
Due for this class meeting:
Reading: Sandy Tolan, “The Voice and The Place” (Bb Learn)
Assignments:
1)Write 3 ideas for your documentary topic (approx 1 paragraph each). These are your “pitches” and
will be the basis for discussion. Each topic should convey why this is an interesting topic, how you
envision the potential for scenic construction, development of characters, and your ability to produce
a story on this topic.
2) Bring a strong example indicative of a good audio documentary to class (no more than 5 minute
example) and be prepared to discuss its strengths and weaknesses.
III. Refining Story Ideas (week #3)
This class meeting will be devoted to refining story ideas, based on the previous week’s pitches and
reading. Class meeting will include other members of the documentary studies faculty to hear and
respond to pitches.
Due for this class meeting:
Reading: Kern, Sound Reporting, chapters 4 and 5 (Bb Learn)
Assignment: Bring two revised pitches to class and be prepared to discuss.
IV. Story Planning (week #4)
This class meeting with involve an a extensive discussion and review of your story plans, and the
readings for this week that will serve as a platform for story planning.
Effective Fall 2012
Due for this class meeting:
Reading: Michael Rabinger, excerpt from Directing the Documentary (Bb Learn) [although Rabinger
is discussing film, much of what he writes about in this excerpt is appropriate and instructive for audio
doc work]; Robert McLeish, “Documentary and Feature Programmes,” (Bb Learn); Robert Krulwich
“Conceiving Features” (Bb Learn); Robert Siegel “Interviewing” (Bb Learn)
Assignment: Bring your reporting plan for your story. The details for this plan are found on Bb Learn.
V. Interviewing (week #5)
This class will be devoted to the craft (and art) of conducting interviews, and recording techniques for
interviews. We will listen and discuss excerpts from your project interviews.
Due for this class meeting: Reading: Terry Gross, excerpts from All I Did Was Ask (Bb Learn);
Studs Terkel, excerpts from Hard Times and The Studs Terkel Reader (Bb Learn).
Assignment: Bring in recordings from your initial interviews (pre-select approx 8 minutes from at least
two separate interviews) for review and discussion in class.
VI. Field Recording and the Creative Use of Sound (week #6)
This class meeting will be devoted to the creative use of sound in audio documentary. We will use
part of the class to review examples from your field recordings.
Due for this class meeting: Reading: Scott Carrier, Getting Good Tape
http://www.airmedia.org/PageInfo.php?PageID=207 ; Robin White, Getting Good Ambient Sound
http://www.airmedia.org/PageInfo.php?PageID=201 ; Jim Metzner, How I Use Sound in a Story
http://www.airmedia.org/PageInfo.php?PageID=208; Tom Lopez, Remote Recording Survival Guide
http://www.transom.org/tools/recording_interviewing/200206.remote.tlopez.html ; Katie Davis, Shout
Out! A Kids’ Guide to Recording Stories http://transom.org/tools/basics/200501.shoutout.kdavis.html ;
Robin White, How to Mic a Field Interview http://www.airmedia.org/PageInfo.php?PageID=199
Assignment: Bring sound recordings from your story project to class. Choose 4 distinct sounds and/or
ambience beds. These will be reviewed and discussed in class. In addition, bring in at least one
example of creative or compelling use of sound in a public radio story.
VII. The Art and Style of the Audio Feature (week #7)
This week we will discuss your detailed short feature outlines in a workshop format. We will also
discuss the compelling elements of short features that students have brought in as examples.
Due for this class meeting: Reading: Rosenbaum and Dinges, “Producing Features” (Bb Learn)
Assignment: Bring in a detailed outline of your short feature and be prepared to discuss with class.
VIII. Writing for Listeners (rather than readers) (week #8)
Writing for audio means taking into consideration that people will listen rather than read your work.
This week’s class is devoted to exploring the qualities of writing that make for good listening, as well
Effective Fall 2012
as voice techniques for narration. In addition, we will have a session on story assessment as pertains
to writing narration.
Due for this class meeting: Reading: Kern, “Writing for Broadcast” and “Reading on the Air” (Bb
Learn); Rosenbaum and Dinges, “Writing for the Ear: A Personal Approach” (Bb Learn)
Assignment: Bring one example of great writing for audio to class. NOTE: THIS IS THE LAST CLASS
MEETING BEFORE DOING THE FINAL EDIT ON YOUR FEATURE STORY. WE WILL BE
LISTENING TO AND CRITIQUING FEATURES IN THE FOLLOWING WEEK
IX. Editing (week #9 AND week #10)
During this class we will hear, discuss and critique midterm feature stories. In addition, we will discuss
editing.
Due for these class meetings: Reading: Suzanne Marmion, “Script Guidelines for a Speedy Edit”
http://www.airmedia.org/PageInfo.php?PageID=206 ; Rosenbaum and Dinges “The Editor” (Bb
Learn); Kern, “Story Editing” (Bb Learn). Assignment: YOUR COMPLETED FEATURE IS DUE.
BRING TO CLASS FOR LISTENING AND CRITIQUE SESSION.
X. Expanding the Story (week #11)
This week class will focus on the expansion of shorter stories to longer form documentary work. We
will also look at comparisons between audio work and other media. A large portion of this meeting will
be to discuss your plans for the expanding your feature story into a full documentary.
Due for this class meeting: Reading: Bill McKibben, “The Pen is Easier than the Mic”
http://transom.org/2006/beginnings-bill-mckibben-pen-mic/ ; Mary Beth Kirchner, “A Year to Live, A
Year to Die” http://www.npr.org/2006/03/27/5303770/a-year-to-live-a-year-to-die
Assignment: Prepare a detailed story outline and structure for your full documentary, and bring it to
class for discussion and critique. Also, bring an example of an audio documentary or long feature that
exhibits the qualities of excellent work to class for review and discussion.
XI. Making the Scene (week #12)
This week, class focuses on the creation and setting of scenes through sound recordings and
ambient sound beds. We will consider different approaches to audio scene development and various
narrative styles. In addition we will discuss and review first draft of scripts for full documentary.
Due for this class meeting: Assignment: First draft of script for final documentary project (due 2
days before class meeting—email to instructor). Bring two strong examples of audio “scenes” from a
radio feature or documentary class for discussion.
XII. First Rough Mix (week #13)
This meeting will be devoted to story assessment. We will review and discuss the first rough mixes of
the final documentary project, consider options and solutions for troubleshooting, discuss voicing and
more advanced production techniques.
Effective Fall 2012
Due for this class meeting: Assignment: Complete first rough mix of final project and bring to class
with revised production script.
XII. Second Rough Mix (week #14)
This week will be devoted to story assessment and second rough mixes of documentary projects.
Instructor will meet one on one with students to review second mix and move projects toward
finalization. There will be no group meeting this week. Instead, students will schedule appointments
with instructor. Plan on 20-30 minutes for your meeting.
Due for this class meeting: Assignment: Complete second rough mix of final project and schedule
appointment with instructor.
XII. Final Projects and Presentations (week #15)
Final projects are due for this class meeting. Students will share projects for discussion and critique.
This final section of the course may require extending to another meeting in finals week to review the
projects.
Due for this class meeting: Assignment: Final mix of audio documentary due by class meeting.
Assessment of Learning Outcomes:
Assignments: Assignments are drawn from a mixture of readings and online listening. Texts will
include selections from a special documentary edition of the quarterly, Nieman Reports; from the
websites transom.org, thirdcoastfestival.org, and radiocollege.org, and from Sound Reporting: The
National Public Radio Guide to Radio Journalism and Production by editors Marcus D. Rosenbaum
and John Dinges, and Sound Reporting by Jonathan Kern. These readings will be posted on Bb
Learn. You are expected to have completed them in advance of a class meeting and be prepared for
discussion. Listening assignments will be given at the end of class each week, and will depend on the
content of the documentaries in production. Additional assignments will require students to bring in
radio stories and to talk in class about their strengths (or weaknesses). In this way students will have
the opportunity to contribute to an online archive of the best of public radio storytelling.
Midterm project: As part of the development of the long-form documentary, a four-minute feature
story will be required before the spring break. This will be both a story unto itself, and a means to
assess the story development of the longer project.
Final project: Long-form radio documentary, minimum 8 minutes, maximum 15. Length will be
determined by content, story "do-ability," and the experience of the reporter.
Both midterm and final projects will be evaluated on the quality of the research and reporting, clarity
of the writing and narrative structure, effectiveness and originality of the use of sound, compelling
nature of the scenes and other story-telling techniques, seamlessness of the editing, and quality of
the recorded interviews and final narration.
GRADING SCALE
Class participation
Effective Fall 2012
20 points (1 point possible for each class meeting and up to 5 points rewarded
for substantial contribution over the course of the semester)
Assignments
30 points (2 points possible for the completion of each week’s assignment)
Midterm Project
quality of work)
15 points (a maximum of 15 points can be earned for this project based on the
Final Project
quality of work)
35 points (a maximum of 35 points can be earned for this project based on the
FINAL COURSE GRADES A=90-100 points; B= 80-89 points; C=70-79 points; D=60-69 points;
F=below 60 points. There will be no extra credit work available in this class.
Course Policy
CLASS ATTENDANCE
Although each reporter will develop his/her own documentary, this will be in a real way a team
production. Each reporter will be the lead producer on one story/doc, and associate producer on
another. Story sessions will depend heavily on each student's participation. Documentary
brainstorming and constructive critique of works in progress is an essential part of the
journalistic/creative process. Hence attendance every week is required. Unexcused absence will
be penalized 1 point for each class missed. This is a matter of respect for yourself, your
colleagues, and your teacher.
NORTHERN ARIZONA UNIVERSITY
POLICY STATEMENTS FOR COURSE SYLLABI
SAFE ENVIRONMENT POLICY
NAU’s Safe Working and Learning Environment Policy prohibits sexual harassment and assault, and
discrimination and harassment on the basis of sex, race, color, age, national origin, religion, sexual
orientation, gender identity, disability, or veteran status by anyone at this university. Retaliation of any
kind as a result of making a complaint under the policy or participating in an investigation is also
prohibited. The Director of the Office of Affirmative Action & Equal Opportunity (AA/EO) serves as the
university’s compliance officer for affirmative action, civil rights, and Title IX, and is the ADA/504
Coordinator. AA/EO also assists with religious accommodations. You may obtain a copy of this policy
from the college dean’s office or from the NAU’s Affirmative Action website
nau.edu/diversity/. If you have questions or concerns about this policy, it is important that you contact
the departmental chair, dean’s office, the Office of Student Life (928-523-5181), or NAU’s Office of
Affirmative Action (928) 523-3312 (voice), (928) 523-9977 (fax), (928) 523-1006 (TTD) or
aaeo@nau.edu.
STUDENTS WITH DISABILITIES
If you have a documented disability, you can arrange for accommodations by contacting Disability
Resources (DR) at 523-8773 (voice) or 523-6906 (TTY), dr@nau.edu (e-mail) or 928-523-8747 (fax).
Students needing academic accommodations are required to register with DR and provide required
disability related documentation. Although you may request an accommodation at any time, in order
for DR to best meet your individual needs, you are urged to register and submit necessary
documentation (www.nau.edu/dr) 8 weeks prior to the time you wish to receive accommodations. DR
is strongly committed to the needs of student with disabilities and the promotion of Universal Design.
Concerns or questions related to the accessibility of programs and facilities at NAU may be brought to
the attention of DR or the Office of Affirmative Action and Equal Opportunity (523-3312).
ACADEMIC CONTACT HOUR POLICY
Effective Fall 2012
Based on the Arizona Board of Regents Academic Contact Hour Policy (ABOR Handbook, 2-224), for
every unit of credit, a student should expect, on average, to do a minimum of three hours of work per
week, including but not limited to class time, preparation, homework, studying.
ACADEMIC INTEGRITY
Integrity is expected of every member of the NAU community in all academic undertakings. Integrity
entails a firm adherence to a set of values, and the values most essential to an academic community
are grounded in honesty with respect to all intellectual efforts of oneself and others. Academic
integrity is expected not only in formal coursework situations, but in all University relationships and
interactions connected to the educational process, including the use of University resources. An NAU
student’s submission of work is an implicit declaration that the work is the student’s own. All outside
assistance should be acknowledged, and the student’s academic contribution truthfully reported at all
times. In addition, NAU students have a right to expect academic integrity from each of their peers.
Individual students and faculty members are responsible for identifying potential violations of the
university’s academic integrity policy. Instances of potential violations are adjudicated using the
process found in the university Academic Integrity Policy.
RESEARCH INTEGRITY
The Responsible Conduct of Research policy is intended to ensure that NAU personnel including
NAU students engaged in research are adequately trained in the basic principles of ethics in
research. Additionally, this policy assists NAU in meeting the RCR training and compliance
requirements of the National Science Foundation (NSF)-The America COMPETES Act (Creating
Opportunities to Meaningfully Promote Excellence in Technology, Education and Science); 42 U.S.C
18620-1, Section 7009, and the National Institutes of Health (NIH) policy on the instruction of the
RCR (NOT-OD-10-019; “Update on the Requirement for Instruction in the Responsible Conduct of
Research”). For more information on the policy and the training activities required for personnel and
students conducting research, at NAU, visit: http://nau.edu/Research/Compliance/Research-Integrity/
SENSITIVE COURSE MATERIALS
University education aims to expand student understanding and awareness. Thus, it necessarily
involves engagement with a wide range of information, ideas, and creative representations. In the
course of college studies, students can expect to encounter—and critically appraise—materials that
may differ from and perhaps challenge familiar understandings, ideas, and beliefs. Students are
encouraged to discuss these matters with faculty.
CLASSROOM DISRUPTION POLICY
Membership in the academic community places a special obligation on all participants to preserve an
atmosphere conducive to a safe and positive learning environment. Part of that obligation implies the
responsibility of each member of the NAU community to maintain an environment in which the
behavior of any individual is not disruptive. Instructors have the authority and the responsibility to
manage their classes in accordance with University regulations. Instructors have the right and
obligation to confront disruptive behavior thereby promoting and enforcing standards of behavior
necessary for maintaining an atmosphere conducive to teaching and learning. Instructors are
responsible for establishing, communicating, and enforcing reasonable expectations and rules of
classroom behavior. These expectations are to be communicated to students in the syllabus and in
class discussions and activities at the outset of the course. Each student is responsible for behaving
in a manner that supports a positive learning environment and that does not interrupt nor disrupt the
delivery of education by instructors or receipt of education by students, within or outside a class. The
complete classroom disruption policy is in Appendices of NAU’s Student Handbook.
Effective Fall 2012
Effective Summer 2014
Approved UCC – 1/28/14
Approved UGC – 2/12/14
Effective Fall 2012