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Unit outline_

CMPN2510: Scoring and Arranging for the Screen

Semester 2, 2020 [Normal day] - Sydney

An application of various musical skills and disciplines pertinent to today's music industry, this unit of study explores fundamental aspects of composing, arranging and orchestrating for the screen. Theoretical principles are drawn from dramaturgy and cinematography, and applied to concerns of form, aesthetics, orchestration and technology to inform the various practical processes of preparing a music score from its inception to the delivery of parts for a recording session. Scoring and Arranging for the Screen offers a pragmatic approach to negotiating the pressing demands faced by screen composers in today's film and television industry.

Unit details and rules

Academic unit Composition and Music Technology
Credit points 6
Prerequisites
? 
None
Corequisites
? 
None
Prohibitions
? 
None
Assumed knowledge
? 

None

Available to study abroad and exchange students

Yes

Teaching staff

Coordinator Phillip Johnston, phillip.johnston@sydney.edu.au
Lecturer(s) Phillip Johnston, phillip.johnston@sydney.edu.au
Type Description Weight Due Length
Assignment Fortnightly Tasks
Short assignments. Please refer to Canvas for full details.
20% Multiple weeks Variable. Refer to Canvas for details.
Outcomes assessed: LO1 LO2 LO3 LO4 LO5 LO6 LO7 LO8 LO9
Assignment hurdle task Assignment 3 - Film Score 2: Full Orchestra
Compose an orchestral score to a given segment of film (3 options).
40% STUVAC 2-3 min. music + 300-400 word document
Outcomes assessed: LO1 LO9 LO8 LO7 LO6 LO5 LO4 LO3 LO2
Assignment Assignment 1 - Spotting, conceptualising and sketching initial ideas
Spotting notes and musical sketches based on a given film/TV segment.
20% Week 04 500 words + 2 min. music notation & MIDI
Outcomes assessed: LO1 LO9 LO8 LO7 LO6 LO5 LO4 LO3 LO2
Assignment Assignment 2 - Film Score 1: Chamber
Compose a music cue for one of the given video segments.
20% Week 08 2-3 minutes of music
Outcomes assessed: LO1 LO9 LO8 LO7 LO6 LO5 LO4 LO3 LO2
hurdle task = hurdle task ?

Assessment summary

  • Fortnightly Tasks: A series of short fortnightly tasks intended to develop the student’s technical aptitude with the technology, concepts and processes discussed in lectures. 
  • Assignment 1 – Spotting, Conceptualising and Sketching Initial Idea: You will be provided with a 10-minute segment of a film, documentary or television show that will require a spotting sheet and 2 x 1min, draft cues.
  • Assignment 2 – Create a Chamber Score: Compose a cue for one of the given video segments (you will be offered a choice of three, which are drawn from different genres). The cue you compose is to satisfy a director’s brief provided and must follow your own spotting notes. Include a full or short score for your cue.
  • Assignment 3 – Full score: Choose one of the three video segments provided on Canvas and compose a piece of orchestral music. The director’s brief and basic cue information is given. A score and rationale is required.

Detailed information for each assessment can be found on Canvas.

Assessment criteria

Please see the Canvas site for further assessment criteria.

The following assessment criteria are used for written work in this unit of study:

Result name

Mark range

Description

High distinction

85 - 100

Demonstrates high level of initiative in research and reading; sophisticated critical analysis of evidence; high level engagement with theoretical issues, innovative use of reading/research material and impressive command of underlying debates and assumptions; properly documented and written with style, originality and precision.

Distinction

75 - 84

Demonstrates initiative in research and wide, appropriate reading; complex understanding of question and ability to critically review material in relation to underlying assumptions and values; analyses material in relation to empirical and theoretical contexts; properly documented; clear, well-developed structure and argument with some signs of literary style.

Credit

65 - 74

Evidence of broader understanding than pass level; offers synthesis with some critical evaluation of material; coherent argument using a range of relevant evidence; some evidence of independent thought, good referencing. A high credit (70-74) shows some evidence of ability to problematise and think conceptually.

Pass

50 - 64

Written work meets basic requirements in terms of reading/research; relevant material; tendency to descriptive summary rather than critical argument; makes a reasonable attempt to avoid paraphrasing; reasonably coherent structure; often has weaknesses in particular areas, especially in terms of narrow or underdeveloped treatment of question; acceptable documentation.

Fail

0 - 49

Work may fail for any or all of the following reasons: Unacceptable paraphrasing; irrelevance of content; poor spelling; poor presentation; grammar or structure so sloppy it cannot be understood; failure to demonstrate understanding of content; insufficient or overlong word length.

For more information see guide to grades.

Late submission

In accordance with University policy, these penalties apply when written work is submitted after 11:59pm on the due date:

  • Deduction of 5% of the maximum mark for each calendar day after the due date.
  • After ten calendar days late, a mark of zero will be awarded.

Academic integrity

The Current Student website provides information on academic integrity and the resources available to all students. The University expects students and staff to act ethically and honestly and will treat all allegations of academic integrity breaches seriously.

We use similarity detection software to detect potential instances of plagiarism or other forms of academic integrity breach. If such matches indicate evidence of plagiarism or other forms of academic integrity breaches, your teacher is required to report your work for further investigation.

Use of generative artificial intelligence (AI) and automated writing tools

You may only use generative AI and automated writing tools in assessment tasks if you are permitted to by your unit coordinator. If you do use these tools, you must acknowledge this in your work, either in a footnote or an acknowledgement section. The assessment instructions or unit outline will give guidance of the types of tools that are permitted and how the tools should be used.

Your final submitted work must be your own, original work. You must acknowledge any use of generative AI tools that have been used in the assessment, and any material that forms part of your submission must be appropriately referenced. For guidance on how to acknowledge the use of AI, please refer to the AI in Education Canvas site.

The unapproved use of these tools or unacknowledged use will be considered a breach of the Academic Integrity Policy and penalties may apply.

Studiosity is permitted unless otherwise indicated by the unit coordinator. The use of this service must be acknowledged in your submission as detailed on the Learning Hub’s Canvas page.

Outside assessment tasks, generative AI tools may be used to support your learning. The AI in Education Canvas site contains a number of productive ways that students are using AI to improve their learning.

Simple extensions

If you encounter a problem submitting your work on time, you may be able to apply for an extension of five calendar days through a simple extension.  The application process will be different depending on the type of assessment and extensions cannot be granted for some assessment types like exams.

Special consideration

If exceptional circumstances mean you can’t complete an assessment, you need consideration for a longer period of time, or if you have essential commitments which impact your performance in an assessment, you may be eligible for special consideration or special arrangements.

Special consideration applications will not be affected by a simple extension application.

Using AI responsibly

Co-created with students, AI in Education includes lots of helpful examples of how students use generative AI tools to support their learning. It explains how generative AI works, the different tools available and how to use them responsibly and productively.

WK Topic Learning activity Learning outcomes
Week 01 Introduction - Why is there music in films? Introduction/Overview of film music practice/theory/history. Introduction to film scoring techniques and how to analyse film music cues in terms of dramaturgy, structure, orchestration, genre. Introduction to unit & assessments. Lecture (2 hr) LO1 LO2 LO3 LO4 LO5 LO6 LO7 LO8
First analysis of film clips Practical (1 hr) LO1 LO2 LO6 LO7 LO8
Week 02 Introducing the Romantic Orchestral style as begun in the silent film era (Breil, Meisel), practiced through the classic Hollywood style (Korngold, Rozsa) , and continued in the present day (Williams, Shore). Lecture (2 hr) LO1 LO2 LO5 LO6 LO7 LO8
Introduction to making MIDI mock-ups and the use of DAWs in film scoring. Creation of screen-shot scores. Cue sheets and Spotting Notes. Sample Spotting. (see Assessment 1) Introduction of Assessment 1 Practical (1 hr) LO1 LO3 LO4 LO5 LO6 LO7 LO8
Week 03 Themes and Motifs. The use of themes and motifs, from the Romantic orchestra style, theme and variation, development vs arrangement/orchestration. Lecture (2 hr) LO1 LO2 LO3 LO6 LO7 LO8
Case study: Developing thematic material through orchestration and style: Nino Rota’s Amarcord score. Practical (1 hr) LO2 LO6 LO7 LO8 LO9
Week 04 Lecture: Genre and Style. Case Study: Film Noir & Neo-Noir. Scoring a genre through different eras and styles: from Max Steiner through Ornette Coleman/Howard Shore. Film genre vs music genre. Lecture (2 hr) LO1 LO2 LO6 LO7 LO8
Introduction of Assessment 2. Practical (1 hr) LO1 LO2 LO3 LO4 LO5 LO6 LO7 LO8
Week 05 Lecture: Focus on motifs: Psycho through Batman. The application and development of motifs in film music. Lecture (2 hr) LO1 LO2 LO6 LO7 LO8
Diegetic vs Non-Diegetic music as a narrative tool. Practical (1 hr) LO1 LO2 LO3 LO4 LO5 LO6 LO7 LO8
Week 06 Electronic Music in Film. From Theremin and Ring Modulators through Software Synths, Samples and Electronica, and combinations of orchestral and electronic (Hans Zimmer), through electronic-based film music composition (Trent Reznor/Atticus Ross). Lecture (2 hr) LO1 LO2 LO4 LO6 LO7 LO8
Debrief on Assessment 1 Practical (1 hr) LO1 LO2 LO3 LO4 LO5 LO6 LO7 LO8
Week 07 The Art of Main Titles. The role, creation and development of Main Titles for film music. Lecture (2 hr) LO1 LO2 LO6 LO7 LO8 LO9
Discussion of unusual Main Titles. Practical (1 hr) LO1 LO2 LO6 LO7 LO8
Week 08 Jazz in Film Music. Stylistic and procedural applications of jazz and improvised music in film music. Lecture (2 hr) LO1 LO2 LO6 LO7 LO8
Study: Introduction of Assessment 3. Study: The Wild One (composer: Leith Stevens, 1953): Migrating thematic material between jazz and orchestral styles. Practical (1 hr) LO1 LO2 LO6 LO7 LO8
Week 09 Songs in Film. Licensed music vs the use of original songs by film composers. Developing song themes into orchestration. Lecture (2 hr) LO1 LO2 LO6 LO7 LO8
Discussion of unusual treatment of songs in film. Practical (1 hr) LO1 LO2 LO6 LO7 LO8 LO9
Week 10 20th /21st Century Music in Film. Herrmann’s use of 20th Century music techniques in Psycho (1960) and Vertigo, (1959), Goldsmith’s use of serialism in Planet of the Apes (1968), the influence of Ligeti and Penderecki on Johnny Greenwood’s scores for There Will Be Blood (2007), The Master (2012) and Phantom Thread (2017) Lecture (2 hr) LO1 LO2 LO6 LO7 LO8
Debrief on Assessment 2. Practical (1 hr) LO1 LO2 LO3 LO4 LO5 LO6 LO7 LO8
Week 11 Television scoring in 2020. The use of themes across multiple seasons. Program themes, character themes, and scene transitions. Lecture (2 hr) LO1 LO2 LO4 LO5 LO6 LO7 LO8
Case Study: The Wire theme across 5 seasons. Practical (1 hr) LO1 LO2 LO5 LO6 LO7 LO8 LO9
Week 12 Contemporary Scores for Silent Film: Electronic, New Music & traditional approaches examined, and pertinence to mainstream film and television scoring. Lecture (2 hr) LO1 LO2 LO3 LO5 LO6 LO7 LO8
The Film Business: Copyright, Collaborators (Music Editors, Music Supervisors, Orchestrators, etc.), Soundtracks, Licensing, Budgets. Practical (1 hr) LO1 LO2 LO3 LO8 LO9

Attendance and class requirements

  • Attendance: Students are expected to attend a minimum of 90% of timetabled activities for a unit of study, unless granted exemption by the Dean, Head of School or professor most concerned. The Dean, Head of School or professor most concerned may determine that a student fails a unit of study because of inadequate attendance. Alternatively, at their discretion, they may set additional assessment items where attendance is lower than 90%.

Study commitment

Typically, there is a minimum expectation of 1.5-2 hours of student effort per week per credit point for units of study offered over a full semester. For a 6 credit point unit, this equates to roughly 120-150 hours of student effort in total.

Required readings

Recommended Reading (not essential but helpful):

Claudia Gorbman, Unheard Melodies: Narrative Film Music (1987)

Fred Karlin and Rayburn Wright, On The Track: A Guide To Contemporary Film Scoring (1990)

Anahid Kassabian, Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music (2001)

Learning outcomes are what students know, understand and are able to do on completion of a unit of study. They are aligned with the University's graduate qualities and are assessed as part of the curriculum.

At the completion of this unit, you should be able to:

  • LO1. understand and negotiate complex processes relating to creativity, workflow, technology and collaboration
  • LO2. competently approach issues arising from creative ambiguity
  • LO3. gage helpful levels of critical self-reflection
  • LO4. understand the technical and practical uses of MIDI, as they are related to timbre, practice and utility for sampled orchestral and electronic instruments
  • LO5. understand the concepts relating to the synchronisation of audio to picture
  • LO6. display a working knowledge of the relevant principles of dramaturgy and cinematography
  • LO7. understand principles of form, instrumentation, arrangement and orchestration as relating to scoring for the screen
  • LO8. understand the implications of genre and style in scoring and arranging for the screen
  • LO9. understand the business and commercial aspects of the film and TV industry.

Graduate qualities

The graduate qualities are the qualities and skills that all University of Sydney graduates must demonstrate on successful completion of an award course. As a future Sydney graduate, the set of qualities have been designed to equip you for the contemporary world.

GQ1 Depth of disciplinary expertise

Deep disciplinary expertise is the ability to integrate and rigorously apply knowledge, understanding and skills of a recognised discipline defined by scholarly activity, as well as familiarity with evolving practice of the discipline.

GQ2 Critical thinking and problem solving

Critical thinking and problem solving are the questioning of ideas, evidence and assumptions in order to propose and evaluate hypotheses or alternative arguments before formulating a conclusion or a solution to an identified problem.

GQ3 Oral and written communication

Effective communication, in both oral and written form, is the clear exchange of meaning in a manner that is appropriate to audience and context.

GQ4 Information and digital literacy

Information and digital literacy is the ability to locate, interpret, evaluate, manage, adapt, integrate, create and convey information using appropriate resources, tools and strategies.

GQ5 Inventiveness

Generating novel ideas and solutions.

GQ6 Cultural competence

Cultural Competence is the ability to actively, ethically, respectfully, and successfully engage across and between cultures. In the Australian context, this includes and celebrates Aboriginal and Torres Strait Islander cultures, knowledge systems, and a mature understanding of contemporary issues.

GQ7 Interdisciplinary effectiveness

Interdisciplinary effectiveness is the integration and synthesis of multiple viewpoints and practices, working effectively across disciplinary boundaries.

GQ8 Integrated professional, ethical, and personal identity

An integrated professional, ethical and personal identity is understanding the interaction between one’s personal and professional selves in an ethical context.

GQ9 Influence

Engaging others in a process, idea or vision.

Outcome map

Learning outcomes Graduate qualities
GQ1 GQ2 GQ3 GQ4 GQ5 GQ6 GQ7 GQ8 GQ9

This section outlines changes made to this unit following staff and student reviews.

This unit of study has been revised to reflect the current student-oriented learning outcomes, and the tools needed to navigate the present industry.

Disclaimer

The University reserves the right to amend units of study or no longer offer certain units, including where there are low enrolment numbers.

To help you understand common terms that we use at the University, we offer an online glossary.