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Unit outline_

MUSC2653: Introduction to Digital Music Techniques

Semester 1, 2024 [Normal day] - Camperdown/Darlington, Sydney

This unit is an introduction to the use of digital sound and music in creative and multimedia contexts. It is a practical course in which students are introduced to tools of sound creation and manipulation. Students will undertake creative projects as a means to learning. In addition, participants will be exposed to a number of approaches to electroacoustic music across the 20th and 21st centuries.

Unit details and rules

Academic unit Analysis, History and Cultural Studies
Credit points 6
Prerequisites
? 
None
Corequisites
? 
None
Prohibitions
? 
None
Assumed knowledge
? 

None

Available to study abroad and exchange students

Yes

Teaching staff

Coordinator Damian Barbeler, damian.barbeler@sydney.edu.au
The census date for this unit availability is 2 April 2024
Type Description Weight Due Length
Participation Participation, Contribution and Attendance
Participation and contribution: sharing drafts, listening discussion etc.
10% Ongoing n/a
Outcomes assessed: LO1 LO12 LO11 LO10 LO9 LO8 LO7 LO6 LO5 LO4 LO3 LO2
Assignment Creative Work 1 - Create a work inspired by a model
Compose a work based on a model (70%). Process diary (30%).
20% Week 06
Due date: 25 Mar 2024 at 23:59
2-3 minutes
Outcomes assessed: LO1 LO2 LO3 LO4 LO5 LO6 LO7 LO8 LO9 LO10 LO11 LO12
Assignment Composing Task 2 - Soundscape Group Assignment
Group work. Compose a soundscape (70%). Process diary (30%)
30% Week 10
Due date: 29 Apr 2024 at 23:59
5 - 7 mins
Outcomes assessed: LO1 LO2 LO3 LO4 LO5 LO6 LO7 LO8 LO9 LO10 LO11 LO12
Assignment Composing task 3 - Compose a work based on 4 options
Composing new work from given options (70%) share draft Process Diary (30%)
40% Week 13
Due date: 26 May 2024 at 23:59
3-5 minutes
Outcomes assessed: LO1 LO2 LO3 LO4 LO5 LO6 LO7 LO8 LO9 LO10 LO11 LO12

Assessment summary

Detailed information for each assessment can be found on Canvas.

Assessment criteria

The following assessment criteria are used for composing and mixing in this unit of study:

Result name

Mark range

Description

High distinction

85 - 100

Comprehensive and outstanding musical integrity. Musical individuality consistently projected to create a persuasive personal artistic voice. A mark of 95 or above indicates extraordinary, captivating musical invention and clarity of presentation of materials. A professional broadcast standard of mixing and mastering as well as compositional construction. Willingness to explore music with inventiveness as well as seek bespoke high quality sound sources. A clear and powerful artistic vision. Use of ideas from class like “Layer Cake Orchestration”, “Complimentary Constrast” etc. Willingness to explore new creative ideas and THEN these crafted beautifully. Extensive evidence of self-directed learning of technical onformation and software and bespoke creative workflows which suit the work at hand. Online process diary has a clear artistic vision and demonstrates how this artistic vision is manifest in an inventive practical application of techniques and use of the digital tools. Evidence in the process diary of self-directed learning.

Distinction

75 - 84

Excellent technical, musical and stylistic achievement. Consistently coherent and expressive. Generally a distinctive personal artistic voice. Generally a high and consistent level of structure, mixing and sound quality to a broadcast level. Inventiveness and clear artistic intent. Use of composition principles learned in class including “Layer Cake Orchestration”, “Complimentary Constrast” etc. Willingness to explore new musical ideas yet with flaws in complete crafting of those adventurous ideas. Evidence of self-directed learning of technical onformation and software and bespoke creative workflows which suit the work at hand. Sound sources are generally bespoke with some reliance on presets and premade loop libraries. Online process diary describes a clear artistic vision and demonstrates how this artistic vision is manifest in the practical application of techniques and use of the digital tools. Evidence in the process diary of self-directed learning.

Credit

65 - 74

Confident technique with evidence of solid musicality and general clarity in structure and presentation of musical materials. Occasional lapses indicative of unresolved technical, artistic and/or stylistic issues. Projects potential for further development. Lacking a well defined artisttic vision. Close to a broadcast level of mixing but with a few key flaws. Some general application of compositional principles learned in class. Signs of willingness to explore new musical ideas but inconsistent crafting of those into the work. Some evidence of self-directed learning of technical onformation and software and bespoke creative workflows which suit the work at hand. Reliance on a large number of premade sound sources like loop libraries or preset synthetic instrumental sounds. Online process diary describes an artistic vision which is not completely focused or is realitvely weak artistically. Some explanation how this artistic vision is manifest in the practical application of techniques and use of the digital tools. Evidence in the process diary of self-directed learning.

Pass

50 - 64

Satisfactory level of basic compositional technique. Some inconsistencies in structure, style and/or technique. Lack of development of core musical materials. Musical imagination developing though with some insecurity in this area. A general sense that basics and idea from class have been applied but inconsistently and without deep creative insight and with some imperfections. Not reaching a broadcast level of mixing or presentation. Lack of willingness to explore new musical sounds or ideas. Little evidence of self-directed learning of technical onformation and software and bespoke creative workflows which suit the work at hand. Heavy use of preset sounds and inbuilt loop libraries. Online process diary lacks an explanation of artistic vision. Little description of how the practical digital tool where ised. No indication of the sources of sounds. Little evidence in the process diary of self-directed learning.

Fail

0 - 49

Unsatisfactory technical achievement and/or unsatisfactory level of musical and artistic engagement based on above criteria. Limitations may be of such a scale and consistency as to call into question the student’s future direction in this artistic direction. No application of compositional principles taught in class. No evidence of self-directed learning of technical onformation and software and bespoke creative workflows which suit the work at hand. Heavy use of preset sounds. Incomplete duration or compositional structures. Brief, poorly written, incomplete or absent process diary.

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.

This unit has an exception to the standard University policy or supplementary information has been provided by the unit coordinator. This information is displayed below:

In line with University standard policy, a penalty of 5% of the maximum mark will be applied for every calendar day late. Work more than 10 days late will be given a mark of zero.

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.

Support for students

The Support for Students Policy 2023 reflects the University’s commitment to supporting students in their academic journey and making the University safe for students. It is important that you read and understand this policy so that you are familiar with the range of support services available to you and understand how to engage with them.

The University uses email as its primary source of communication with students who need support under the Support for Students Policy 2023. Make sure you check your University email regularly and respond to any communications received from the University.

Learning resources and detailed information about weekly assessment and learning activities can be accessed via Canvas. It is essential that you visit your unit of study Canvas site to ensure you are up to date with all of your tasks.

If you are having difficulties completing your studies, or are feeling unsure about your progress, we are here to help. You can access the support services offered by the University at any time:

Support and Services (including health and wellbeing services, financial support and learning support)
Course planning and administration
Meet with an Academic Adviser

WK Topic Learning activity Learning outcomes
Week 01 Introduction, Course outline, structures and styles of activities. Creative process in the digital music environment. Inspiration. Digital Workflow overview. Overview of current technology and tools. Small group creative activity. Case study listening/discussion. Lecture and tutorial (2 hr) LO1 LO4 LO8 LO11
Week 02 Topics: Inspiration, Art Practice, Human Expression and Creativity in Music. 1st assignment introduction. Case study listening/discussion. Mix Lab (mixing basics prac): Basics of Digital Audio Workstations and Mixing. Lecture and tutorial (2 hr) LO1 LO4 LO6 LO8 LO11
Week 03 Topics: Composing Techniques (Contrast, Foreground, Middle-ground, Background). Case study listening/discussion. Mix Lab (mixing basics prac): EQ. Lecture and tutorial (2 hr) LO1 LO4 LO6 LO8 LO11
Week 04 Topics: Physics of Sound, Composing Concepts (Colour Recipes, Layer-cake Orchestration). Case study listening/discussion. Mix Lab (mixing basics prac): Compression Lecture and tutorial (2 hr) LO1 LO4 LO11
Week 05 Topics: Workflow, Signal Chains, Healthy Creative Workflows in the Studio. Case study listening/discussion. Mix Lab (mixing basics prac): Reverb. Tutorial: Feedback on assignment 1 drafts. Lecture and tutorial (2 hr) LO1
Week 06 Topics: Recording Techniques. Case study listening/discussion. Mix Lab (mixing basics prac): Eqing field recordings. Lecture and tutorial (2 hr) LO6 LO8 LO11
Week 07 Topic Focus: Musical Structures, Composing with non-musical sound sources. Case study listening/discussion. Tutorial: Feedback on assignment drafts. Lecture and tutorial (2 hr) LO1 LO2 LO4
Week 08 Topic Focus: Composing Techniques (Imaging, Transitions, Fun FX). Case study listening/discussion. Mix Lab (mixing basics prac): Fx Lecture and tutorial (2 hr) LO1 LO4 LO6 LO9 LO11
Week 09 Topics: Overview of music technologies: where we have come from, where we are, where are we headed in future. Case study listening/discussion. Tutorial: Feedback on assignment 2 drafts. Lecture and tutorial (2 hr) LO8 LO11
Week 10 Topics Focus: Composition Techniques (arranging, doubling, colouring). Case study listening/discussion. Final assignment introduction. Tutorial: developing ideas for final assignment. Lecture and tutorial (2 hr) LO1 LO7 LO8
Week 11 Topic Focus: Creative sound effects / plugins techniques. Case Study Listening Tutorial: Assignment 3 consultation. Lecture and tutorial (2 hr) LO1 LO3 LO8 LO10 LO12
Week 12 Topic Focus: Composing Techniques (musical development in digital music) Tutorial: Final assignment feedback. Lecture and tutorial (2 hr)  

Attendance and class requirements

  • Attendance: 
    This is a highly active class with a great deal of discussion and practical activity. Attendance in person is therefore of paramount importance.
     
  • 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

Students will need personal access to a basic Digital Audio Workstation software package, for example GarageBand or Cakewalk. Any DAW may be used. It is advised that students have good quality headphones and bring these to class.

Students will be expected to research additional technical information about Digital Audio Workstations, digital filters and so forth as they relate to their creative composition assignments. This includes sources such as Youtube and published texts. Students will get credit for such research in their assignents via a process diary.

Key references include:

Benade, Arthur. Fundamentals of Musical Acoustics 2019.

Katz, Bob. Mastering Audio: the art and science, third edition 2015.

Wessel Oltheten Mixing with Impact: Learning to Make Musical Choices 2018.

 

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. Learn fundamentals of sound, Learn and employ basic acoustic terminology and relate such terminology to real-world audio situations.
  • LO2. Record, document and edit a two-track studio-style recording using portable field recorders and industry-standard stereo editing software
  • LO3. Deliver such content via a variety of mediums, including online media platforms
  • LO4. Learn the fundamentals of sound and applying those to mixing an audio track. This includes techniques for hearing and practical techniques for achieving a good basic mix.
  • LO5. Document the process using online social media and other “social composing” contexts
  • LO6. Analyse the structure of a simple piece of electronic dance music and gain an understanding of the way such works may be created, including textural concepts and the possibilities in using such works as model for further composition
  • LO7. Use various essential Digital composing "intruments" and filters to create a work of electronic dance music based on a model
  • LO8. Learn to devise creative workflows which suit your personal creative style and which result in a healthy, productive creative approach to composing.
  • LO9. Establish the differences between 'real" audio and midi (musical instrument digital interface) information, including a basic introduction to synthesis
  • LO10. Disseminate material to a global audience via online services
  • LO11. Understand the development of a variety of electroacoustic music trends and patterns across the twentieth century across a wide variety of genres, as well as learn to research appropriately material
  • LO12. Use audio material efficiently with regard to contemporary copyright law.

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.

In recent times the course has been modified to include more information about mixing and student creative interaction in class has been increased. Composition tasks have been adapted to allow students more scope to compose works which suit their current stylistic or artistic interests.

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.

Additional costs

There is not specific cost outlays. From time to time students do choose to purchase their own software or hardware elements if it is relevant to their personal musical practice and future goals in this field: for example the purchase of mixing monitors.

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.