A technical course designed to give composers practical experience in the area of music editing for a scored film and temp-tracked film project. Class instruction and weekly private lab work will include the preparation of all documents involved in music postproduction, as well as various techniques used when synchronizing and editing music to picture on a digital audio workstation.
This course will address the prevalent and recurrent need in films to emulate a wide variety of stylistic scoring approaches appropriate to the period setting and/or specific ethnic locale of a screenplay. Approaches to research and adaptation of authentic musical styles will be discussed. (Such styles include, for example, 17th-century European, African, 1920s American, etc.). Careful attention to instrumentation, arranging, orchestration, and dramatic theme development will be stressed. Assignments representing realistic situations will be recorded synchronously to the specific needs of film scenes.
In this course, students will examine and explore the challenges posed to a composer in addressing certain classic moments that occur as standard fare in dramatic and comedic films. Such moments include, but would not be limited to: The Kiss, The Revelation, The Chase, The Punch Line, The Victory, The Hero's Death, etc. The typical class session will be divided between a critical review of the previous week's writing assignment and a lecture on the next moment to be examined and scored. Lectures will be far-ranging, and examples will be drawn from the work of prominent film and TV composers. Students will learn how to confront the challenges posed by such parameters as limited budgets, period settings, anticipated sound effects, docudramatics, etc.
This course will provide opportunities for scoring scenes that use the same thematic material for one movie. Students will learn to create appropriate themes, develop variations, create a suite of proposed thematic material for a director, and score several scenes from the same film. Students will use MIDI sequences as well as live players to record their projects. All recorded projects will be conducted by the composers and screened for faculty evaluation. This course will also cover the basic knowledge of the music business as it relates to the film composer. Topics to be discussed will include initial meetings with directors, royalties, contracts, agents, the musicians union, and budgeting for a project.
An examination of advanced film scoring functions available in various software applications. Mac applications include Digital Performer, Logic Pro, Kontakt, and Reason. Requires the use of multi-computer workstation setups: Mac for sequencing, PC for sample or software synthesis playback, Kontakt or GigaStudio for various sample libraries, as well as V-Stack as a host for VST instruments. Scoring projects include a cartoon, TV commercial, and video game footage.
This course focuses on the new musical and technological techniques and aesthetics of contemporary film composing. The use of synthesizers and sound design, computers and advanced sequencing techniques, rock, pop, and other nontraditional music in the film scoring process, and the contemporary aesthetics of modern filmmakers and audiences will be investigated.
This course continues to build on the foundations learned in FS-371. It features advanced approaches to scoring for video games, including implementation using middleware such as XACT, Wwise, and Fmod. It includes examples, guest speakers, and applied scoring to develop the knowledge and skills that games composers and implementers are using in today's industry. This course deepens the preparation of students for entry level work in music at a game development company or as a freelance game music professional, including experience with typical game music workflow using version control technologies.
An advanced music editing course dealing with standard film and television industry procedures. Intended for the student who demonstrates technical fluidity with editing equipment and who intends to pursue a career in this field. Emphasis is on the responsibilities of a music editor for the scored film, from temp tracks and spotting through dubbing. Instruction will include digital editing techniques on a multitrack digital audio workstation, as well as the necessary preparations for delivering music to the dubbing stage in various surround sound formats.
A real-world immersion course in which students learn about aspects of film scoring that go beyond composition and production by scoring actual student films. These will include one collaboration with a senior electronic production and design student who is creating sound design, as well as at least one student film from a local college. Some of these student films will be provided through the professors; however, students will be able to find their own films if they wish. Lectures and discussions will consist of real-world examples of how the director-composer relationship works, as well as critiques of student projects and processes. Admission to the course is by application.
This is the second semester of a 2-semester course sequence, admission to which is highly limited. Admitted students must take both FS-P484 in fall and FS-485 in spring, and must either have passed or take COND-361 concurrently in the spring semester. This class will complete the composition of and produce the complete score for a feature length film of the silent era. The final composed score will be performed live with the film in a performance at a local theater in the final weeks of the term. The students will each score, arrange, orchestrate and conduct the music for a reel (12-15 minutes) of the film, using thematic material provided by and under the guidance of the instructor.
This course focuses on production of the capstone film scoring projects and graduation portfolio, and provides for individual attention within a small group setting. Career planning, relevant business aspects, and the film and television industry's expectations of the composer/music editor also will be discussed both in the small group meetings with the listed faculty, and in weekly seminars with faculty and visiting artist guest speakers.
Monitored and evaluated professional work experience in an environment related to the film scoring major. Placement is limited to situations available from or approved by the Office of Experiential Learning and the Film Scoring Department chair or designee. To apply for an internship, students must see the internship coordinator in the Office of Experiential Learning prior to registering. Note: Equivalent credit for prior experience is not available due to the requirement of concurrent contract between the employer/supervisor and the college. International students in F-1 status must obtain authorization on their Form I-20 from the Counseling and Advising Center prior to beginning an internship.