最新糖心Vlog

1. To provide students with new understandings and exploratory approaches in sonic arts theory and practice.
2. To equip students with knowledge and develop new artistic and technical skills in sound creation and design.
3. To develop students learning processes and reflexive skill set with regard to future practice, thus enabling students to adapt to the ever expanding and rapidly changing area of sonic arts and related areas.

• USB Stick or portable hard drive with enough capacity to store files associated with the course and formatted as "exFAT" to provide suitable compatability between MacOS and Windows.
• Stereo headphones with a 6.5mm male adaptor. Recommended Type: Closed-Back, Over-the-Ear  Headphones.
• Note – students must bring both their USB storage and Headphones (with adaptor) to university, as they are required for various classes, completing exercises and for using laboratories and studios.

In order to minimise risk in noise-prone situations, the Conservatorium makes both reusable gel ear-plugs and disposable foam ear-plugs available to students and staff free of charge at all times. Students and staff are also urged to consider purchase of customised personal hearing protection.

For more information regarding sound levels, hearing and hearing loss please refer both to the full content of the O'Brien Report and to the excellent publication by Canadian audiologist/academic Marshall Chasin, entitled Hear the Music: Hearing Loss Prevention for Musicians both available here: 

• Brown, Andrew R. Computers in Music Education : Amplifying Musicality. New York: Routledge, 2007.
• Cary, Tristram. Illustrated Compendium of Musical Technology. London: Faber, 1992.
• Guérin, Robert. MIDI Power! 2nd ed. Boston, MA: Thomson Course Technology.
• Gurevitz, Steven, and Paul Middleton. Music Technology Key Concepts and Practical Projects. Workbook ed. San Diego: Focal Press [Imprint] Elsevier Science & Technology Books.
• Holmes, Thom. The Routledge Guide to Music Technology. Routledge Guides. New York: Routledge, 2006.
• Huber, David Miles. The Midi Manual a Practical Guide to Midi in the Project Studio. 3rd ed. Burlington, MA: Focal Press/Elsevier.
• Kirk, Ross, and Andy Hunt. Digital Sound Processing for Music and Multimedia. Oxford: Focal, 1999.
• Manning, Peter. Electronic and Computer Music. Rev. and expanded ed. Oxford ; New York: Oxford 最新糖心Vlog Press.
• Middleton, Chris, and Allen Zuk. The Complete Guide to Digital Audio : A Comprehensive Introduction to Digital Sound and Music-Making. Lewes, [England]: Ilex, 2004.
• Mike, Collins. Pro Tools 9: Music Production, Recording, Editing, and Mixing Music Production, Recording, Editing, and Mixing. NL: Focal Press, 2011.
• Miranda, Eduardo Reck. Computer Sound Design : Synthesis Techniques and Programming. Music Technology Series. 2nd ed. Oxford ; Boston, Mass.: Focal Press, 2002.
• Pohlmann, Ken C. Principles of Digital Audio. 5th ed. New York ; London: McGraw-Hill, 2005.
• Roads, Curtis. The Computer Music Tutorial. Cambridge, Mass.: MIT Press, 1996.
• Russ, Martin. Sound Synthesis and Sampling. Music Technology Series. 2nd ed. Boston: Elsevier/Focal Press, 2004.
• Ward, Kevin. Pro Tools 9: The Mixer's Toolkit: The Mixer's Toolkit. NL: Focal Press, 2011.
• Williams, David Brian, and Peter Richard Webster. Experiencing Music Technology : Software, Data, and Hardware. New York London: Schirmer Books; Prentice Hall International, 1996.
• Wishart, Trevor, and Simon Emmerson. On Sonic Art. Contemporary Music Studies ; V. 12. New and rev. / ed. New York, N.Y.; Amsterdam: Routledge ; Harwood Academic Publishers, 1996.

• Kirn, Peter. "Create Digital Music".  2012. 16 January 2012. <http://createdigitalmusic.com/>.
• "MIDI Manufacturer's Association".  2003. <http://midi.org/>.
• "Sound on Sound Magazine".  1985. 17 January 2012. <http://www.soundonsound.com/>.

MyUni is a crucial part of this course and will provide students with access to assessment and learning materials, such as quizzes, discussion boards, slide presentations, readings, links, sound and video. Materials will be provided on a topic-by-topic basis over the semester: .

The course structure and content is delivered through a range of classes and materials. The classes in this course consist of online lectures, tutorials and workshops.

Online Lecture

• Online lectures will deliver a specific topic each week. The topic will consist of ideas and concepts; technologies; and  practitioners in the field. Students must view the online lecture prior to the attending the tutorial.

Tutorial

• Tutorials provide an opportunity to discuss and ask questions about the weekly lecture and topic for the course; reinforce concepts and ideas from the lecture and explore new territory.
• Students are required to complete the weekly reading before their tutorial; come to the tutorial with questions and thoughts on the reading; and be prepared to actively engage in discussion on the weekly topic and reading.

Workshop

• Workshops will explore a wide range of practical aspects of the course and its associated topics and concepts.
• Students will be set regular practical tasks as part of their portfolio assessment and be required to present their work during the workshop.
• Although workshops will from time to time contain presentations from the instructor, the workshop will largely be an opportunity for students to obtain assistance with their practical and creative development and practice. Students need to actively and on a week-by-week basis maintain their practical and creative development, using the workshop to raise issues and solve problems.
• Finally, the workshops provide a forum by which students can begin to explore their own ideas and practice using lecture and tutorial materials as inspiration and points of departure.

This course consists of up to 48 hours of direct contact or structured non-contact - 4 hours per week over 12 weeks for the seminars and workshops, where students will play an active role in the practice, refinement, consolidation and extension of their knowledge and understanding. In addition students will spend a minimum of 108 non-contact hours over the duration of the course on self-initiated learning and research, reading, writing, practice and assessment in order to pass the course, making the minimum workload 156 hours.

In order to be relevant, contemporary and up-to-date, this course uses a reflexive ‘just-in-time’ organisation that adjusts its structure and delivery according to the most current changes in the field, lecture-centred research practice and peer-student interest. The structure of the course is broken down into a range of topics and more specific sub-topics that vary according to changes in the field. Each of the topics is supported by theory and practice through lectures, tutorials and workshops. More information about the format of the classes can be found in the section  “LEARNING AND TEACHING MODES”.

Topics will vary and may include:

• sound art
• sound composition
• sound programming
• game sound
• film sound
• electroacoustic music
• acousticmatics
• acoustic ecology
• product acoustic design
• sonic iconography
• sound logos
• sound objects
• multimedia audio
• listening techniques, conceptual and analytical frameworks
• sound design and music technologies
• design techniques, concepts and issues
• sound processing
• synthesis
• sound effects
• procedural audio
• spatial audio
• virtual reality

This course will involve using the resources of the Electronic Music Unit (EMU). This includes facilities such as studios, recording spaces and digital audio workstations.

In order for students to complete the course they must gain ongoing and permanent access to EMU. Access and use of EMU is based upon  completing the EMU Access Test.

More information can be found here:

Except where otherwise indicated by the lecturer, tutor or workshop instructor – mobile phones, laptops, PDAs, recording devices and other similar technology must be switched off before lessons or classes begin, and kept off for the duration.

The 最新糖心Vlog of Adelaide has committed to a pedagogical approach that incorporates several aspects of scholarship. A key component of the Beacon of Enlightenment strategic pedagogical approach is that all students commencing in 2014 will experience a "Small-Group Discovery Experience" (or SGDE for short) in at least one course in every year of their degree program.

The Core Concepts upon which the SGDE pedagogical approach is based include goals that students will discover (or rediscover) learning as Intellectual Challenge, and develop a Scholarship of Discovery to inspire them toward learning and lifelong learning.

To accomplish this learning journey, students will develop research skills, and learning and teaching delivery modes used will require students to engage actively with their discipline content. This active learning process will engender a commitment to knowledge for its own sake, and consequently learning to follow an investigation, in a disciplined fashion, wherever it may lead.

Due Dates:
Specific information regarding due dates is provided on myUni.

Formative Assessment:
Classes will contain embedded formative assessment tasks that may include student presentations, discussions, practical exercises, demonstrations and out-of-class work that will enable students to engage with the practical and theoretical concepts presented in order to complete their summative assessments.

All students must complete the requirements under “SPECIFIC COURSE REQUIREMENTS ‘EMU Facilities Access Provisions’”. Students who fail to complete these items may be deemed to have failed the course.

Students are expected to attend all classes. If a student fails to attend at least 70% of tutorials or workshops in a course the student may be deemed to have failed that course, irrespective of assessments completed. Students who arrive 10 minutes or later after the start of a class will be marked as absent.

Extenuating circumstances may occasionally affect a student’s ability to participate in a rehearsal, workshop, class, lecture, tutorial or performance. In such cases a student should email their course coordinator regarding the circumstances within 7 days and include the following information:

• Type of Leave: Sick Leave, Compassionate Leave or Professional Development Leave
• Student Name
• Student ID
• Dates of Leave
• Total Number of Days
• Reason for Absence
• Supporting Documentation (e.g. medical certicificate, counsellor note etc)

Refer to “ASSESSMENT SUMMARY”

Assessments and Exams

Students must be available during the identified 最新糖心Vlog teaching, academic and examination periods. Students are not entitled to sit an examination or submit an assessment at another time, nor are they entitled to any other concessions if an examination or assessment conflicts with a planned vacation or special event. Results from assessments and examinations are usually sent to students via email and/or myUni.

Late Submission

Assignments where late submissions are permitted and that are submitted after the due date and time will incur a 2% penalty (from the assignment total of 100%) per day (24 hour period) for a maximum of 7 days (including weekends and public holidays ). 

• an assignment that is 3 days late: raw score of 80% - 6 marks lateness deduction = 74% final mark.

• typically this does not apply to assessments where the assessment is conducted at a fixed time and location, such as an exam, workshop, practical test, performance or presentation – please refer to the individual assessments for further information.
• for work with a formal extension, these penalties will apply from the extended due date.

Cut-off date

There will be a cut-off date for each assignment 7 days (including weekends and public holidays) after the original due date unless otherwise stipulated on MyUni. Work will not be accepted after the cut-off date, and a mark of zero will automatically be awarded for the assignment.