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Unit of study_

CMPN3335: Composition for Creative Industries 5

Semester 1, 2023 [Normal day] - Sydney

The focus of Composition for Creative Industries 5 is on composing music across a diverse range of genres, as required in writing commissioned music for film, TV, advertising and theatre, as well as for commercial library music catalogues. In this unit students will develop a range of technological and compositional skills, and the acuity to convey and support a story through composition. Lyric writing for screen is also included in this unit. The music industry demands professional standards of music composition, production technique, mixing ability, self-promotion, and the capacity to produce a high volume of work while meeting tight deadlines. During the weekly classes and assignments students will develop a range of these pertinent professional attributes that are essential to flourish in today's music market.

Unit details and rules

Unit code CMPN3335
Academic unit Composition and Music Technology
Credit points 6
Prohibitions
? 
None
Prerequisites
? 
CMPN2334
Corequisites
? 
None
Assumed knowledge
? 

None

Available to study abroad and exchange students

Yes

Teaching staff

Coordinator Ivan Zavada, ivan.zavada@sydney.edu.au
Lecturer(s) Damian De Boos-Smith, damian.deboos-smith@sydney.edu.au
Maria Alfonsine, maria.alfonsine@sydney.edu.au
Type Description Weight Due Length
Assignment ASS 5: Website Creation
Students create their own website and other networking tools.
20% Formal exam period
Due date: 04 Jun 2023 at 23:59
See the UoS Canvas site for details.
Outcomes assessed: LO1 LO5
Assignment ASS 2a-d: Working with a Director
Students collaborate in pairs, write a brief and compose a 45sec track.
20% Multiple weeks
Due date: 02 Apr 2023 at 23:59
See the UoS Canvas site for details.
Outcomes assessed: LO1 LO5 LO4 LO3 LO2
Assignment ASS 4: Hybrid Score to Visuals
Student compose and produce a hybrid score to supplied short film excerpt.
30% STUVAC
Due date: 28 May 2023 at 23:59
See the UoS Canvas site for details.
Outcomes assessed: LO1 LO5 LO4 LO3 LO2
Assignment ASS 1: Audio Logos
Students create two audio logos to a given brief.
10% Week 02
Due date: 26 Feb 2023 at 23:59
See the UoS Canvas site for details.
Outcomes assessed: LO1 LO4 LO3 LO2
Assignment ASS 3: Cinematic Trailer
Students compose and produce a 90sec cinematic trailer track.
20% Week 09
Due date: 23 Apr 2023 at 23:59
See the UoS Canvas site for details.
Outcomes assessed: LO2 LO4 LO3 LO1

Assessment summary

Composing music across a diverse range of genres, as required in the entertainment industry (commissioned music for film, TV, advertising and theatre, etc…) Short tasks include Audio Logo (10%), Audio Production Brief and correspondence (20%), Cinematic Trailer (20%), Hybrid Score to Visuals (30%), and Website Creation (20%). More detailed information is provided on the Canvas portal for students.

Assessment criteria

Sydney Conservatorium - Composing for the Creative Industry YEAR 3 Semester 1 - Unit 5

               
MARKING CRITERIA                
Title Description of Criteria Percentage HD - Highly meets industry standards DI - Meets industry standards well CR - Meets industry standards with some margin PS - Minimum of what is required F - Does not meet industry standards  
Creativity and Interpretation of the Brief Meeting the brief. An understanding of the compositional elements required in different genres. The music''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''s suitability to the visuals. The ability to work with limited budget and time to create a satisfying final music result. 25% Excellent interpretation of brief, honouring the genre and director''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''s requests. Ability to contribute something musically unique to a well-established genre. Understanding hit points and mood changes when working to vision. The ability to produce captivating music with limited financial and time resources. Strong interpretation of brief, honouring the genre and director''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''s requests. Confidently captures the characteristics of a well-established genre. Understanding hit points and mood changes when working to vision. The ability to produce competent music with limited financial and time resources. Satisfactory interpretation of brief, within the genre and director''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''s requests. Adequately captures the characteristics of a well-established genre. Understanding but missing some hit points and mood changes when working to vision. Showing awareness of time and budget without having optimised the possibility of time and budget management. Minimum acceptable interpretation of brief, within the genre and director''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''s requests. Somewhat captures the characteristics of a well-established genre but lacking the composition and production detail and emotion to create an outstanding work. Capturing minimal hit points and mood changes when working to vision. Showing minimal employment of achieving an industry-standard result within time and budget limitations. Brief misinterpreted and characteristics of genre not adequately utilised, even following revision advice from the director. Lacking in composition and production detail and emotion. Not capturing hit points and mood changes when working to vision. Unable to achieve an industry-standard result within time and budget limitations.  
Production Quality Quality of realism with MIDI programming, recording quality, mix and stem quality. 25% Final product sounds professional and highly realistic, with full implentation of maximising tonal expression and understanding emotive volume automation in MIDI performances. Mixed with balance and depth across the frequency spectrum and ready for delivery and public broadcast. Stem preparation is full understood and implemented. Final product sounds professional and fairly realistic, with plentiful use of MIDI expression and volume automation, with a well-balanced mix suitable for presentation to the director and requiring only minor adjustments with production choices and mix to be ready for delivery and broadcast. Stem preparation is thoroughly understood and implemented. Final product shows the composer''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''s intent but needs further development to achieve the level of realism required for presentation to the director or delivery. Mix shows awareness of panning and reverb use and fundamental level balancing but requires finessing to maximise emotive expression and correct EQ and subtle automation. Stems are prepared but contain some minor preparation errors such as differing lengths and incorrect reverb amounts. Final product captures a musical idea with potential, but feels unrealistic and like an early stage demo. Mix is lacking balance and cohesion. Needs considerable further development to achieve the level of realism required for presentation to the director. Stems have been attempted but contain a number of errors, or have not been included with the submission. Final product completely lacks realism and shows very little sense of mixing and production ability. The submission feels basic and is unpresentable by industry standards. Stem preparation contains multiple errors.  
Workflow Efficiency of mix setup with bussing and gain structure within DAW, audio region editing, efficiency and productivity of workflow, backup regularity, timely delivery, receiving feedback, revision changes, recording session preparation. 20% Mix bussing is thorough and logical. Bussing both for instrument grouping and effects sends is clearly understood and consistently implemented. Mix headroom is fully understood and apparent on every track. Audio edits are meticulous, seamless and detailed. Backup of sessions and files is fully and automatically integrated into the workflow. All work is delivered on time. Feedback is absorbed and acted upon immediately. Recording sessions are fully prepared and musicians are produced and recorded at a professional level. Mix bussing is well implemented. Bussing both for instrument grouping and effects sends is used almost always correctly. Mix headroom is understood and used on the majority of tracks. Audio edits are clean and smooth. Backup of sessions and files is fully integrated into the workflow. All work is delivered on time. Feedback is absorbed and acted upon efficiently. Recording sessions are well organised and musicians produced and recorded at a high standard. Bussing is somewhat understood but not fully implemented. Mix headroom is used on some tracks but inconsistent. Audio edits are utilised but lacking precision and some are missing. Backup of sessions and files occurs but is not automated or consistent. Most work is delivered on time. Feedback is absorbed and acted upon quite efficiently. Recording sessions are achieved and musicians are organised in time for delivery but showing some room for improvement. Mix and group bussing is occasionally attempted but not deeply integrated. Adequate mix headroom is only occasionally incorporated. Audio edits are barely utilised. Backup of sessions is very sporadic. Work is occasionally submitted after due time. Feedback is absorbed and acted upon, but left late in the process and some notes are not attended to. Recording sessions are achieved, but the process showing errors and a lack of preparation and organisational efficiency. No correct bussing methods are attempted and mix headroom is neglected. Audio edits are barely utilised, and audible cuts and clicks are frequent. Backup of sessions is neglected. Work is frequently handed in late. Feedback is not acted upon or poorly interpreted. Recording sessions with musicians are either avoided or ineffective.  
Presentation Clarity of DAW sessions with track naming and ordering, quality of correspondence, file naming and management, layout and attention to detail in score and parts, submission of required files. 20% DAW tracks are named and ordered and sessions are exceptionally clear when viewed by a collaborator or teacher. Correspondence is courteous, concise and clear and shows a strong ability to ask any questions required to do the best job possible. All file names are self-explanatory and fall in a logical order in the finder window. Scores are detailed and without mistakes and formatting and layout is considered, balanced and aesthetically pleasing. Submission includes all required files in a logical and clear file heirarchy. DAW tracks are named and ordered well. Sessions are overall clear when viewed by a collaborator or teacher. Correspondence is courteous, concise and clear. All file names are very clear but sometimes with minor and not critical inconsistencies. Scores are detailed and without mistakes but slight finessing of formatting and layout is possible. Submission includes all required files. DAW tracks are named in a way that is indicative but occasionally showing some missing names and having some illogical ordering. DAW sessions are fairly clear when viewed by a collaborator or teacher. Correspondence is courteous and mostly clear and could be made more concise. File names are clear but showing quite a number of inconsistencies. Scores are clear and playable with minimal mistakes, with a competent but not detailed aesthetic. Submission includes all required files. DAW tracks are often not clearly named, with some exceptions. DAW track ordering is somewhat occuring but inconsistent. DAW sessions are unclear but showing some order when viewed by a collaborator or teacher. Correspondence is functional but lacking in courtesy and efficiency. File names are indicative only and not showing a consistent format. Scores are playable but with a number of mistakes, with a basic layout aesthetic. Submission contains essential files to prove the requested work has been attempted but is missing some requested files such as stems, or files are present but delivered in the wrong format, eg. mp3 files delivered instead of wav files. DAW sessions are chaotic and random when viewed by a collaborator or teacher. Correspondence is not targeted to obtain the important information to proceed with the task and is completely lacking in courtesy and efficiency. File names are poorly chosen and lacking in essential information. Scores are basic and riddled with mistakes and difficult-to-read note grouping choices, with little effort put into layout aesthetic. Submission is missing essential files to prove the requested work has been attempted. Audio files are not checked and are blank or faulty. No consideration has been given to the start and end point of audio files, creating unnecessary silence and/or chopped reverb tails.  
Reflective Report Self-description of the student''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''s experience, outlining strengths and weaknesses, describing what went well and areas to focus on improving moving forward. 10% The student shows an outstanding awareness of the majority of elements to consider to effectively work as a composer in the industry, indicating the many aspects studied, and to constantly maintain an awareness of, for the greatest likelihood of success in the industry. The student shows an honest self-appraisal and self-criticism with the view to always improve. The student shows a detailed awareness of all elements to consider to effectively work as a composer in the industry. The student shows an honest self-appraisal and self-criticism with the view to always improve. The student shows a competent awareness of several elements to consider to effectively work as a composer in the industry. The student shows an honest but not fully comprehensive self-appraisal and self-criticism with the view to always improve. The student shows a minimal awareness of elements to consider to effectively work as a composer in the industry. The student shows an incomplete self-appraisal and self-criticism but still demonstrates the intention to improve. The student does not show awareness of the important elements to consider to effectively work as a composer in the industry. The student shows an incomplete, egotistical or inaccurate self-appraisal and self-criticism that lacks the view to improve.  
                 

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:

• 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.

You may only use artificial intelligence and writing assistance tools in assessment tasks if you are permitted to by your unit coordinator, and if you do use them, you must also acknowledge this in your work, either in a footnote or an acknowledgement section.

Studiosity is permitted for postgraduate units unless otherwise indicated by the unit coordinator. The use of this service must be acknowledged in your submission.

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 and DAW template creation Lecture and tutorial (3 hr) LO1 LO2
Week 02 Genres, director's brief and workflow Lecture and tutorial (3 hr) LO1 LO2 LO3 LO4
Week 03 MIDI programming skills Lecture and tutorial (3 hr) LO1 LO2 LO3
Week 04 Hybrid score to visuals and recording skills Lecture and tutorial (3 hr) LO1 LO2 LO3 LO4
Week 05 Director's feedback and revisions Lecture and tutorial (3 hr) LO1 LO2 LO3 LO4 LO5
Week 06 Songwriting for screen and mastering skills Lecture and tutorial (3 hr) LO1 LO2 LO3
Week 07 Music production demonstration: cinematic trailer; industry business skills Lecture and tutorial (3 hr) LO1 LO2 LO3 LO5
Week 08 Self-promotion and show progress of student work Lecture and tutorial (3 hr) LO1 LO2 LO3 LO4 LO5
Week 09 Registering work for royalties and vocal production Lecture and tutorial (3 hr) LO1 LO2 LO5
Week 11 Composing for theatre and understanding musical storytelling Lecture and tutorial (3 hr) LO1 LO2 LO3 LO4
Week 12 Power Hour Challenge Lecture and tutorial (3 hr) LO1 LO2 LO3 LO4
Week 13 Show progress of student work Lecture and tutorial (3 hr) LO1 LO2 LO3 LO4 LO5

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.

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 implement a broad range of concepts and techniques in the context of the creative industries
  • LO2. implement strategic workflow specific to a given project brief, including meeting fast turnarounds and deadlines
  • LO3. effectively compose music that supports visuals for film & TV, as well as jingles, stings, audio logos, lyric writing and theatre
  • LO4. understand the process and protocols of effective collaboration when working with a director, and competently interpret the key points of a given brief
  • LO5. possess a working understanding of the music industry pertaining to networking, basic legal matters, and industry etiquette.

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.

We have simplified the assignment schedule for this unit based on student feedback.

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.