Sound Design For

The Stage and Screen

Course: Sound Design for the Screen and Stage E-mail: [email protected]
Time: Wednesdays 9am-12pm Office: RC2-01-01H
Classroom: Program Room 2
Office Hours: Thursdays 11am-12pm & Fridays 12-1pm and by appointment

COURSE DESCRIPTION
This course provides hands-on experience with sound design for film, theater, and
multimedia works. In this course students design sound for theater, film productions, and
installation work and learn how to approach sound design for these diverse media.
Topics such as Automatic Dialog Replacement (ADR), Foley, post-synchronized sound
and musique concrète techniques are covered, and several examples of sound design
for film and theatrical performance are analyzed and discussed in class. Ideally, students
will connect the work for this class to ongoing theatrical performances and film
productions. The syllabus may be adapted to the schedule of these events to better
accommodate the flow of work to be produced throughout the semester. The class is
best suited to meeting twice per week with one longer session and one shorter session.
The longer session (2-2.5hrs) is a lab where several practical aspects of sound design
are addressed and learned. The smaller session (1-1.5hs.) is a lecture-type session in
which theoretical and conceptual aspects of sound design are discussed.
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LEARNING OUTCOMES
Students who successfully complete this course will be able to:
• Explain the historical value and relevance of sound design in film and theater.
• Design Foley effects
• Demonstrate a comprehension of musique concrète and other sound design
techniques and theoretical frameworks.
• Design sound for a theatrical performance and understand the differences
between sound design for film and for theater
• Develop a personal sonic aesthetic in their design practice.

TEACHING AND LEARNING METHODOLOGIES:

This is a discussion and practice-based course, centered on a set of carefully chosen
readings. You should not come to class without having done the required reading for the
day. Ideally, you will have at least glanced at the materials listed under “further reading”
as well. There will be writing prompts and short responses due for most readings, which
you will post on the course website.

Sound Design for The Stage and Screen is a writing and production intensive seminar.
As such workshops throughout the semester will be dedicated to the learning of sound
design and the digital technologies and tools in support of sound design. In these
sessions, we will survey a variety of software tools, web platforms, and equipment, and
you will be engaging in individual and group exercises to help hone skills with these tools.
We will also be looking at different strategies and techniques for developing sound
design, and will spend time on looking at films and theatrical performances and how
sound design was used in the development of the piece’s aesthetic.

GRADING
The below rubric will be used as the criteria for grading project based assignments. In
addition, there is a percentage breakdown for each aspect of your participation in the
course.

Rubric

Excellent (10) Student demonstrates a command over key technical and theoretical
concepts and can successfully apply this knowledge to the course subject matter with
accurate description and detail.

Very Good (9) Student demonstrates an understanding of key technical and theoretical
concepts and is able to apply this in their presentation of the course subject material with
coarse detail.

Good (8) Student demonstrates an understanding of most technical and theoretical

concepts. Student can identify technical information they have been taught in context
and struggle to apply this information to new scenarios.

Fair (7) Student demonstrates an understanding of some technical and theoretical

concepts related to the course subject matter. S/he is able to identify key components of
these concepts while struggling to understand the concept completely.
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Poor (6) Student demonstrates a poor understanding of technical and theoretical
concepts related to the course subject matter, but are able to identify a rudimentary
understanding of some of the material.

No Credit (5 and Below) Student struggles to recall most technical and theoretical
concepts related to the course subject matter and is unable to demonstrate their
understanding of this material.

Percentage Breakdown

Attendance/participation: 10%
Short Response Papers: 10%
Project I: 15%
Project II: 15%
Project III: 15%
Project IV: 15%
Final Project: 20%

ATTENDANCE AND PARTICIPATION

Attendance is mandatory; and it is essential that you always arrive on time. You are
allowed one unexcused absence without any consequence to your grade. If you will be
absent from class due to religious observance or participation please notify me at least
one week in advance. If you are absent from class for medical reasons, please provide
a note from your doctor. Missing a class does not excuse you from respecting
assignment deadlines.

ASSIGNMENTS
(see schedule below for due dates)
Written and project-based assignments should be uploaded to canvas or sent directly to
me before they are due, and you should be prepared to share them in class. If
assignments are more than one week late you must make an appointment to speak to
me about the project and the reason for the late submission.

READINGS AND MEDIA CONTENT

All texts and media content will be uploaded to the course website and or placed on
reserve at the library.

Required Texts:
• Ament, V. T. (2014). The Foley Grail: The Art of Performing Sound for Film,
Games, and Animation. CRC Press.
• Chion, Michel (1994). Audio-vision: Sound on screen. (Ed. and Trans. Claudia
Gorbman). New York: Columbia University Press
• Chion, Michel (2009). Film: A sound art. (Ed. and Trans. Claudia Gorbman). New
York: Columbia University Press

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 • Cook, Frank. (2013). Pro Tools 101: An introduction to Pro Tools 11. Boston, MA:
Cengage Learning PTR
• Kassabian, A. (2002). Hearing Film: Tracking Identifications in Contemporary
Hollywood Film Music. Routledge.
• Kaye, D., & LeBrecht, J. (2015). Sound and Music for the Theatre: The Art &
Technique of Design (4 edition). New York ; Abingdon, Oxon: Focal Press.
• Sonnenchein, David (2001). Sound Design: The Expressive Power of Music,
Voice and Sound Effects in Cinema. Studio City, CA: Michael Wiese Productions
• Viers, Rick (2008). The Sound Effects Bible: How to Create and Record
Hollywood Style Sound Effects. Studio City, CA: Michael Wiese Productions

Supplementary Resources:
• http://modisti.com/news/?p=14239 (translation to English of Chion’s “Guide des
objects sonores”)
• http://filmsound.org (great resource for all-things related to sound design for
film, including, interviews, theoretical texts, and demos by Hollywood greatest
like Walter Murch and Ben Burtt)

STATUS OF THE SYLLABUS

This syllabus is a working document. As the term progresses, I may make
ammendments to readings, assignments and due dates to reflect the needs of the class.
Updated versions of the syllabus will be posted to the course canvas site.

ACADEMIC HONESTY AND PLAGIARISM

Plagiarism will result in an F on an assignment. Please be aware of the college’s policies
on academic honesty and plagiarism.

ADDITIONAL INFORMATION
If you have questions about anything related to the course, I am available after class, or
you may contact me by email. Should you be unable to make office hours, schedule an
appointment for another time. Please let me know if you have any questions or require
any special consideration.

SCHEDULE OF CLASSES, READINGS, AND ASSIGNMENTS

Week 1 – Introduction

Lab: Theory of Digital Audio and Intro to Pro Tools I — Interface, connections, plug-
ins, etc.

Lecture: Introduction, overview of the semester

Chion, Foreword by Walter Murch,
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Week 2

Lab: Intro to Pro Tools II — Recording and manipulating sound.

Lecture: Intro, Sound and listening modes. Acousmatics — the challenges of the
Acousmatic situation. Sound objects and musique concrète. Creating a sound-based
narrative.

Required Reading:
• Chapters 1,2, & 3 in M. Audio-Vision, Sound on Screen. Columbia University
Press, 1994
• Chapters 1 & 2 in Chion, Michel (2009). Film: A sound art. (Ed. and Trans.
Claudia Gorbman). New York: Columbia University Press
• Chapters 1 & 2 in Kaye, D., & LeBrecht, J. (2015). Sound and Music for the
Theatre: The Art & Technique of Design (4 edition). New York ; Abingdon, Oxon:
Focal Press.

Assignment
Reading Response Week 2 Due
Project I: Assigned

Week 3

Lab: Intro to Pro Tools III — MIDI and virtual instruments

Lecture: Film Screening

Required Reading:
• Chapters 1 & 2 in Kassabian, A. (2002). Hearing Film: Tracking Identifications in
Contemporary Hollywood Film Music. Routledge.

Assignment
Project I: Due

Week 4

Lab: Intro to Pro Tools IV — Further sound manipulation using effects

Lecture: The Role of Sound Design

Required Reading
Chapters 1-2, in Sonnenchein, David (2001). Sound Design: The Expressive Power of
Music, Voice and Sound Effects in Cinema. Studio City, CA: Michael Wiese
Productions
Chapater 3 in Chion, Michel (1994). Audio-vision: Sound on screen. (Ed. and Trans.
Claudia Gorbman). New York: Columbia UP
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Assignment
Reading Response Week 4 Due
Project II: Assigned

Week 5

Lab: Setting Up and Recording Session.

Lecture: Diegetic And Non-Diagetic Sound

Required Readings:
• Chapter 4 in M. Audio-Vision, Sound on Screen. Columbia University Press, 1994

Assignment
Project II: Due
Project III: Foley Sounds Assigned

Week 6

Lab: Microphone types and techniques, Setting Up A Basic Recording

Lecture: — Foley I

Required Readings:
• Parts 1 & 2 in Ament, V. T. (2014). The Foley Grail: The Art of Performing
Sound for Film, Games, and Animation. CRC Press.
• Chapters 3 & 4 in Viers, Rick (2008). The Sound Effects Bible: How to Create
and Record Hollywood Style Sound Effects. Studio City, CA: Michael Wiese
Productions

Assignment
Reading Response Week 6 Due

Week 7

Lab: Foley session II — Creating hyper-real and surreal sound effects

Lecture: Script Analysis and Sound Design for Theater I (Guest Speaker)

Required Reading:
• Chapters 3 & 4 In Kaye, D., & LeBrecht, J. (2015). Sound and Music for the
Theatre: The Art & Technique of Design (4 edition). New York ; Abingdon, Oxon:
Focal Press.
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• Chapters 1 & 11, in Viers, Rick (2008). The Sound Effects Bible: How to Create
and Record Hollywood Style Sound Effects. Studio City, CA: Michael Wiese
Productions
• Parts 4 & 5 in Ament, V. T. (2014). The Foley Grail: The Art of Performing Sound
for Film, Games, and Animation. CRC Press.

Assignment
Project III: Foley Sounds Due
Project IV: Assigned

Week 8

Lab: Sound Design Working Session

Lecture: Sound Design for Theater II

Required Reading
• Chapters 3, 4, & 5 In Kaye, D., & LeBrecht, J. (2015). Sound and Music for the
Theatre: The Art & Technique of Design (4 edition). New York ; Abingdon, Oxon:
Focal Press.

Week 9

Lab: Work on ongoing projects. Working with sound libraries.

Lecture: Sound Design for Film I: Script Analysis

Required Reading
• Chapters 3 & 4 in Sonnenchein, David (2001). Sound Design: The Expressive
Power of Music, Voice and Sound Effects in Cinema. Studio City, CA: Michael
Wiese Productions

Week 10

Lab: Location Recording I

Lecture: Sound Design for Film II: Action & Sci-fi

Required Reading
• Chapters 1, 2, & 3 in Viers, Rick (2012). The Location Sound Bible: How to record
professional dialog for film and TV. Studio City, CA: Michael Wiese Productions
• Chapters 7 & 8 in Sonnenchein, David (2001). Sound Design: The Expressive
Power of Music, Voice and Sound Effects in Cinema. Studio City, CA: Michael
Wiese Productions
Assignment
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Project IV: Due
Homework Week 11: Assigned - Design sound for Action or Sci-fi Video Clip

Week 11

Lab: Location Recording II

Lecture: Sound Design for Film III: Thriller & Cartoon

Required Reading
• Chapters 8, 9, & 17 in Viers, Rick (2012). The Location Sound Bible: How to
record professional dialog for film and TV. Studio City, CA: Michael Wiese
Productions

Assignment
Project V: Assigned
Homework Week 11: Due

Week 12

Lab: Work on ongoing projects

Lecture: Sound Design for Installation I

Week 13

Lab: Work on ongoing projects

Lecture: Sound Design for Installations II: Collaborative sound design

Week 14

Lab & Lecture: In Class Critique & Project Sharing

Assignment
Project V: Due

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RESOURCES NEEDED TO RUN COURSE

Ideally this class would be taught in a classroom that has a seminar table for lectures
that all students can sit around, as well as editing stations around the room for
students to work. Additionally, students will need access to Audio recording
equipment, ideally a Zoom H5n (students can share) and Pro Tools Digital Audio
Workstation. It would be ideal to also have a 5.1 audio playback environment or if that
is not possible a stereo playback environment in the classroom so that students can
use sound design to inform their sound design work.

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