CRICOS Provider no.

: 00098G


Faculty of Arts
& Social Sciences


School of the Arts and Media






































MUSC 2113
Film Music
Semester 2, 2014


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1. Location
FACULTY ARTS AND SOCIAL SCIENCES
SCHOOL THE ARTS AND MEDIA
COURSE CODE MUSC 2113
COURSE NAME FILM MUSIC
SESSION 2 YEAR 2014

2. Table of contents
Page
Staff Contact details
School of the Arts and Media (SAM) Contact Information
Attendance Requirements, Essential Information for FASS/SAM students
Course Details, Course Aims, Learning Outcomes, Graduate Attributes
Rationale for inclusion of content and Teaching Approach
Assessment
Submission of Assessment Items
Academic Honesty and Plagiarism
Course Schedule
Expected Resources for Students, Suggested Reading List
Course Evaluation and Development
Other Information (Student Responsibilities)
Notes for completion of all Assessment items
1
2
2
2
3
4
5
6
6
9
11
11
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3. Staff contact details
Course Convener
Name Dr JOHN PETERSON
Phone 9385 4870
Office WEBSTER, 105
Email address j.peterson@unsw.edu.au
Contact time and
availability
Tuesday: 1.00pm 2.00pm
Wednesday: 11.00am 12.00pm

Teaching Staff: Lecturer and Tutor
Name Dr JOHN PETERSON
Phone 9385 4870
Office WEBSTER, 105
Email address j.peterson@unsw.edu.au
Contact time and
availability
Tuesday: 1.00pm 2.00pm
Wednesday: 11.00am 12.00pm




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4. School of the Arts and Media (SAM) Contact Information
Room 312, level 3 Robert Webster Building
Phone: 9385 4856
Email: sam@unsw.edu.au

5. Attendance Requirements
A student is expected to attend all class contact hours.
Attendance at lectures, screenings and tutorials will be recorded.
If you are more than 15 minutes late, you are deemed not to have attended. It is your
responsibility to ensure your name has been marked off at each class.
A student who attends less than 80% of class contact hours without justification may
be awarded a final grade of UF (Unsatisfactory Fail).
If a student experiences illness, misadventure or other occurrence that makes absence
from a class/activity unavoidable, they should seek permission from the Course
Authority. The application should be accompanied by an original or certified copy of
a medical certificate or other form of appropriate evidence.
A Course Authority may excuse a student from classes for up to one month. A student
seeking approval to be absent for more than one month must apply in writing to the
Dean.
A student who has submitted the appropriate documentation but attends less than 66%
of the classes/activities will be asked by the Course Authority to apply to discontinue
the course without failure.
For more information about the FASS attendance protocols, see the SAM policies and
guidelines webpage: https://sam.arts.unsw.edu.au/students/resources/policies-
guidelines/

6. Essential Information For FASS/SAM Students

For essential student information relating to: attendance requirements; requests for
extension; review of marks; occupational health and safety; examination
procedures; special consideration in the event of illness or misadventure; student
equity and disability; and other essential matters, see the SAM Policies and
Guidelines webpage: https://sam.arts.unsw.edu.au/students/resources/policies-
guidelines

7. Course details
Credit Points 6
Summary of the Course

This course offers the opportunity to gain an understanding of the
main historical developments surrounding the use of music in film,
to enhance the students knowledge of the technological advances
involved in adding music to film, to explore the use music as part
of the sound-track of film, and to explore and investigate the
development of musics function in creating, or enhancing,
meaning in various genres of film.
Aims of the Course

1. This course aims to develop the students analytical skills and
approaches to the study of music within multi-media
frameworks, especially that of film.
2. The course provides the student with an opportunity to study
and discuss in detail the function of music in film as


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demonstrated by selected examples of composed scores
written for a variety of film genres, and also investigates the
psychological factors involved in composing music for film.
The role of music in both Hollywood and non-Hollywood
productions (i.e. from Europe, Asia, India, Iran, England, and
Australia) will be examined.
Student Learning
Outcomes
1. By the end of this course students should be able to identify,
classify, and evaluate the various functions of music within a
variety of film genres and styles
2. Students will have developed the ability to discuss the use of
music in film in a scholarly and informed manner, especially
within the context of the academic literature on the topic.
3. Students will have also broadened their knowledge of the
history of film music through the study of a variety of films in
a variety of genres, some of which they may not have
previously encountered or had the opportunity to study in
detail.
4. Students will also have had the opportunity to apply the
theoretical knowledge discussed in the course in a creative
manner via the completion of a short film scoring exercise.
Graduate Attributes 1. Students will develop an in-depth engagement with the
relevant disciplinary knowledge in its interdisciplinary context
by examining the interaction between music for film and
societys reaction to it and via the completion of set viewing
activities that reflect the key points discussed.
2. Students will develop the skills involved in scholarly enquiry,
such as information literacy, critical analysis, and writing, via
the completion of a creative film-scoring exercise and of an
analytical journal that outlines the students ability to link
concepts discussed in the course to a wider perspective.
3. Information literacy - students will develop the skills to
appropriately locate, evaluate and use relevant information via
the completion of set readings and in two class tests
4. The skills of effective communication will be developed via
participation in class discussion, where students will be
encouraged to develop the ability to express informed
individual opinions in a supportive and non-judgmental
environment.

8. Rationale for the inclusion of content and teaching approach
This course is concerned with investigating the historical perspectives surrounding the
development of music in film, as well as the impact of significant composers and film directors,
societal changes, and developments in technology that have occurred during the twentieth century.
Students will, therefore, be asked to write a short reflective journal that provides a forum for their
reactions to three selected topics discussed in lectures.
In addition, an examination of how music might create a variety of meanings or interpretations
when added to visual images, and its psychological impact on the viewer, will be provided and


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assessed via the completion of a creative film-scoring exercise. Students are strongly encouraged
to apply the modes of listening and viewing demonstrated during the lecture series to their own
experiences, and all assessment items are intended to provide an opportunity for critical and
analytical discussion surrounding the students own experiences with music in film.

9. Teaching strategies
There is one weekly Lecture (two hours) and one weekly tutorial (one hour) associated with this
course, and both lectures and tutorials will consist of audio and audio/visual demonstrations of
course content.
Students are encouraged to participate in the lectures and tutorials in a positive manner. Positive
participation includes switching off mobile phones before entering the lecture/tutorial room.
Please Note: NO LAPTOP COMPUTERS are to be used by students during the lecture or
tutorial series. Please take notes via the application of pen to paper.

MOODLE: Many student resources for this course will be made available via Moodle, the
UNSW eLearning website.
These resources include copies of the Course Outline, for example, as well as copies of the notes
used by the lecturer. While the lecture note files will be posted on Moodle for students to access,
be aware that these will usually be very brief summaries of main topics discussed in lectures, they
will not be comprehensive notes, nor will they replace the experience of actually being present in
the lecture room.
The link to the Log-in page for Moodle can be found on the main UNSW webpage.
Log on to Moodle by entering your Student ID and password, and then click on the link to MUSC
2113: Film Music 2014.


10. Assessment
Assessment task Length Weight Learning
outcomes
assessed
Graduate
attributes
assessed
Due date
1. Reflective
Journal on two set
activities
(Weeks 1, 3)



2. Class Test (on
Lecture material
discussed during
Weeks 1 - 6).



3. Essay and
Film-Scoring
Activity.



400 500
words for each
entry.




1 x 40 minute
Test





Two short (ca. 2
minute) film
clips to be
scored.
Accompanying
Analytical
25%






15%






45%





1, 2, 4






1, 3, 4






1, 2, 4





1, 2, 3






1, 2, 4






1, 2





Journal Entry 1:
Tuesday
05 August (Wk 2)
Journal Entry 2:
Tuesday
19 August (Wk 4)

Wednesday
03 September
(Wk 6)
Held during
scheduled
Tutorial time.


Wednesday,
15 Oct (Wk 11)
Submit at
beginning of
scheduled tutorial
time.


5





4. Class Test (on
Lecture material
discussed during
Weeks 7 - 12).

Essay to be
approximately
1500 words.

1 x 40 minute
Test





15%




1, 3, 4





1, 2, 4






Wednesday,
22 Oct (Wk 12)
Held during
scheduled
Tutorial time.

PLEASE NOTE: In order to pass this course, you must make a serious attempt at
ALL assessment tasks.

Submission of Assessment Tasks
Unless otherwise noted, all completed assessment items should be submitted directly to the
lecturer at the beginning of the class on the designated due date.
You may, on occasion, be asked to submit an assessment item via the School Office it is located
on the 3
rd
floor, Robert Webster Building.
Students are advised that a completed School Assignment Cover Sheet must be attached to all
submitted items. Assignment Cover Sheets are available from outside the School Office, or can be
downloaded from the School website.
Students are also strongly advised to keep an extra copy of all submitted work in case they are
asked to resubmit a particular item.

Late Submission
PLEASE NOTE THAT THESE RULES APPLY FOR ALL COURSES IN SAM.
If your assignment is submitted after the due date, a penalty of 3% per day (including
Saturday, Sunday and public holidays) will be imposed for up to 2 weeks. For
example, if you are given a mark of 72 out of 100 for an essay, and your essay were
handed in two days late, it would attract a penalty of 6% and the mark would be
reduced to 66%. If the same essay were handed in seven days late (i.e. a penalty of
21%) it would receive a mark of 51%. If your assignment is not submitted within 2
weeks of its due date, it will receive a mark of 0. For more information on submission
of late work, consult the FASS assessment protocols at
https://sam.arts.unsw.edu.au/students/resources/policies-guidelines/.

Extension Procedure
A student seeking an extension should apply through the Facultys online
extension tool available in LMS before the due time/date for the assessment
task.
The Course Authority should respond to the request within two working days.


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The Course Authority can only approve an extension of up to five days. A
student requesting an extension of more than five days should complete an
application for Special Consideration.
If a student is granted an extension, failure to comply will result in a
penalty. The penalty will be invoked one minute past the approved extension
time.
A student who missed an assessed activity held within class contact hours
should apply for Special Consideration via myUNSW.
This procedure does not apply to assessment tasks that take place during
regular class hours or any task specifically identified by the Course Authority
as not subject to extension requests.
For more information, see the FASS extension protocols on the SAM policies
and guidelines webpage:
https://sam.arts.unsw.edu.au/students/resources/policies-guidelines/

Special Consideration
In the case of more serious or ongoing illness or misadventure, you will need to apply
for Special Consideration. For information on Special Consideration please go to:
https://my.unsw.edu.au/student/atoz/SpecialConsideration.html
Students who are prevented from attending a substantial amount of the course may be
advised to apply to withdraw without penalty. This will only be approved in the most
extreme and properly documented cases.

11. Academic honesty and plagiarism
Students are encouraged to read the Essential information for SAM students document that is
available for download from the SAM website at the following web address:
http://sam.arts.unsw.edu.au/resources/

This document contains important information regarding:
student support services;
guidelines for student attendance;
guidelines for extension procedures and/or late submission of assessment items;
academic honesty and plagiarism;
equity and diversity;
occupational health and safety.


12. Course Schedule

Topic Date Location Lecture content Tutorial content

Introduction
To course.
Discussion of
Course Outline
and Assessment
items.
Week 1
29 July
Tuesday
10am-
12pm



Webster
G17






Introduction.
Early uses for music in visual
presentations.
Advent of film.
Why the need for music in film?



Tutorials begin in Week
2.







7

Music in
important and
influential
Silent Films


Where is the
music?



Classic
Hollywood
orchestral film
score



Scoring a scene




Film Noir.






Film Music
Analysis



Early Electronic
Music in Film



Film music and
composer style
1.


Classical music
and film:
Stanley Kubrick
and compiled
scores.

Class Test

Week 2
05 August
Tuesday
10am-
12pm

Week 2
06 August
Wed
12pm-1pm

Week 3
12 August
Tuesday
10am-
12pm


Week 3
13 August
Wed
12pm-1pm

Week 4
19 August
Tuesday
10am-
12pm


Week 4
20 August
Wed
12pm-1pm

Week 5
26 August
Tuesday
10am-
12pm

Week 5
27 August
Wed
12pm-1pm

Week 6
02 Sept
Tuesday
10am-
12pm


Week 6
03 Sept

Webster
G17





Webster
G17



Webster
G17






Webster
G17



Webster
G17






Webster
G17




Webster
G17




Webster
G17



Webster
G17





Webster
G17

Birth of a Nation (1915), The
Cabinet of Dr Caligari (1920),
Metropolis (1927)
Technological innovations:
various Examples






Max Steiner:
King Kong (1933)
Erich Korngold:
The Adventures of Robin Hood
(1938)






Bernard Herrmann
Citizen Kane (1941)
Miklos Rozsa:
Double Indemnity
(1944)
Laura (1945)







Lost Weekend (1945); Day the
Earth Stood Still (1951);
Forbidden Planet (1956); The
Birds (1963)







2001 A Space Odyssey (1968; A
Clockwork Orange (1971); The
Shining (1980)












Blackmail (1929);
Scarface (1932).










Discussion of Film-
Scoring Activity and
how to complete it.










Analytical Methods for
Music in Film










Bernard Herrmann
Vertigo (1958); North by
Northwest (1959);
Psycho (1960)








Class Test 1
(ca. 40 minutes).


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Musical
Modernism and
Film.




Use of music in
European film.




Music in Non-
Hollywood
films 1.



Jazz and
Popular Music
in Film



Music in Non-
Hollywood
films 2



Contemporary
art music in
film.




Music in
Australian
Film.

Japanese Anime



Impact of new
technology on
recent film
music

Recent film
scores



Wed
12pm-1pm

Week 7
09 Sept
Tuesday
10am-
12pm


Week 7
10 Sept
Wed
12pm-1pm

Week 8
16 Sept
Tuesday
10am-
12pm

Week 8
17 Sept
Wed
12pm-1pm

Week 9
23 Sept
Tuesday
10am-
12pm

Week 9
24 Sept
Wed
12pm-1pm


Week 10
07 October
Tuesday
10am-
12pm



Week 10
08 October
Wed
12pm-1pm

Week 11
14 October
Tuesday
10am-
12pm





Webster
G17





Webster
G17




Webster
G17




Webster
G17



Webster
G17




Webster
G17





Webster
G17






Webster
G17



Webster
G17








Schoenberg, Eisler & others.
The Cobweb (1955),
On the Beach (1959)
Planet of the Apes (1968),
Altered States (1980)








Guest lecture by
Dr Michelle Langford.










Guest lecture by
Dr John Napier.











Jedda (1955); Picnic at
Hanging Rock (1975); Mad Max
(1979), Somersault (2004), and
others.
Spirited Away (2002)
Howls Moving Castle (2004)







Various examples













Wings of Desire (1987)
Three Colours: Blue
(1993)









Various examples.











Michael Nyman; Philip
Glass; John Adams, John
Corigliano, Johnny
Greenwood










Various examples












9

What now?
What is the
future for film
music?


Being a film
composer.



Class Test









Final comments
Week 11
15 October
Wed
12pm-1pm

Week 12
21 October
Tuesday
10am-
12pm

Week 12
22 October
Wed
12pm-1pm

Week 13
28 October
No Lecture

Week 13
29 October
Wed
12pm-1pm




Webster
G17




Webster
G17



Webster
G17








Webster
G17







Guest lecture - tbc.










No Lecture

Discussion of various
examples.









Class Test 2









Marked Scoring
Assignments to be
returned to students
(students must be present
in class to collect
assignments); final
comments.

13. Expected resources for students
Suggested
Textbook details
Additional readings
Hickman: Reel Music:
100 Years of Film
Music (Norton, 2005)

This is not a
compulsory text for
this course, it is merely
a suggested resource
that contains useful
additional information
on course content.
Those marked with * are sources to which reference will often be made.

Anderson, G. Music for silent films, 1894-1929: a guide (Washington: Library of
Congress, 1988)
Brophy, P. (ed.). Cinesonic: experiencing the soundtrack (North Ryde,
N.S.W.: Australian Film Television and Radio School, 2001)
Bruce, G. Bernard Herrmann: film music and narrative (Ann Arbor, Mich.: UMI
Research Press, 1985)
Buhler, J. Flinn, C. and Neumeyer, D. (eds.) Music and cinema (Hanover, N.H.-
London: University Press of New England, 2000)
Burt, G., The Art of Film Music, (Boston, Northeastern University Press, 1994)
*Carroll, N. Theorizing the moving image (Cambridge: Cambridge University
Press, 1996) [S 791.4301/95]
Cohan, S. (ed.). Hollywood musicals, the film reader (New
York: Routledge, 2002)
Conrich, I and Tincknell, E (eds.). Films musical moments
(Edinburgh: Edinburgh University Press, 2006)
Conway, K. Chanteuse in the city: the realist singer in French film
(Berkeley: University of California Press, 2004)
*Cook, Mervyn. A History of Film Music (Cambridge: Cambridge University
Press, 2008) [S781.54209/5]
Cook, Nicholas. Analysing musical multi-media (Oxford : Oxford University
Press 2000) [S 781/164 B]


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* Cohen, A. J. (2010). Music as a source of emotion in film. In P. N. Juslin & J.
A. Sloboda (Eds.), Handbook of Music and Emotion: Theory, Research,
Applications. (pp. 879-908). Oxford: OUP.
Coyle, R. (ed.). Reel tracks: Australian feature film music and cultural identities
(Sydney: John Libbey, 2005)
-------------- (ed.). Screen scores: studies in contemporary Australian film music
(North Ryde, N.S.W.: Australian Film, Television & Radio School, 1998)
Craggs, S. R. Soundtracks: an international dictionary of composers for film
(Aldershot: Ashgate, 1998)
Darby, W. and Du Bois, J. (eds.). American film music: major composers,
techniques, trends, 1915-1990 (Jefferson, N.C.: McFarland, 1990)
Dickinson Kay (ed.). Movie Music: The Film Reader (London: Routledge, 2003)
[S 781.542/24]
Flinn, C. The new German cinema: music, history, and the matter of style
(Berkeley: University of California Press, 2003.
*Gorbman, C. Unheard Melodies: Narrative Film Music (Bloomington: Indiana
UP, 1987). [S 782.8509/2]
Hillman, R. Unsettling scores (Indiana UP, 2005) [S791.43024/4]
*Kalinak, K. Settling the score: music and the classical Hollywood film
(Madison: University of Wisconsin Press, 1992) [S 781.5420973/2]
*Karlin, F. and Wright, R., On the Track: A Guide to Contemporary Film Scoring
(New York: Routledge, 2004).
*Kassabian, A. Hearing film: tracking identifications in contemporary Hollywood
film music (New York: Routledge, 2001) [S 781.542/11]
Larsen, P. Film Music, (London: Reaktion Books Ltd, 2005) [S 781.54209/4]
*Juslin, P. N., & Laukka, P. (2004). Expression, perception, and induction of
musical emotions: A review and a questionnaire study of everyday listening.
Journal of New Music Research, 33(3), 217-238.
Marks, M. M. Music and the silent film: contexts and case studies, 1895-1924
(New York-Oxford, Oxford University Press, 1997)
Mera, M. and Burnand, D. (eds.). European film music (Aldershot: Ashgate,
2006)
Neale, S. and Smith, M. (eds.). Contemporary Hollywood cinema. (London-New
York: Routledge, 1998)
Nicholson, D. W. (ed.). Australian soundtrack recordings 1927-1996: a
discography of soundtracks and associated recordings relating to Australian
film and television productions (Sydney: Australian Music Centre, 1997)
*Prendergast, R. M. Film music: a neglected art: a critical study of music in films
(New York: W.W. Norton, 1992) [S 781.54209/1]
* Thayer, J. F., & Levenson, R. W. (1983). Effects of music on
psychophysiological responses to a stressful film. Psychomusicology, 3(1),
44-52.
Schelle, M., The Score: Interviews with Film Composers, (Beverly Hills, Silman-
James Press, 1999).
Sobcheck, N. Screening space: the American science fiction film (New
Brunswick, N.J.: Rutgers University Press, 1997)
Sullivan, J., Hitchcocks Music (New Haven, Yale University Press, 2006)
Tagg, Philip and Clarida, Bob. Ten little Title Tunes: Towards a musicology of
the mass media, (New York and Montreal: Mass Media Music Scholars
Press, 2003) [S 781.542/17]




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14. Course evaluation and development
Student feedback on this course is gathered periodically and is always carefully considered with a
view to acting on it constructively wherever possible. Feedback is gathered by various means
including the Course and Teaching Evaluation and Improvement (CATEI) Process. In light of
previous feedback from students in this course, more emphasis has been placed on allowing
students to provide a brief score for a short segment of film for assessment purposes in order to
further consolidate the students understanding of the course concepts.

15. Other information
1. Any student having difficulty with the course is encouraged to consult with the
Lecturer/Course Convenor regarding any particular component that may be
causing concern to the student; arrangements for any discussions outside of normal
consultation time should be made by making an appointment with the
Lecturer/Course Convenor via email.
2. Students are expected to attend 80% of scheduled lectures and tutorials, as per the UNSW
Guidelines. For further details, please refer to UNSW policy regarding attendance. Please
Note: Medical Certificates should be supplied for any absence due to illness, and should be
given to the Course Convenor within three days of the students return to classes.
3. Scheduling university work: You are expected to plan your academic workload so that you
can complete ALL assessment items by the due dates. Given that you will have had
adequate notice of your obligations, it is your responsibility to ensure that you develop
sensible work patterns so that you do not run into a traffic jam of academic work towards
the end of the teaching session. The demands of assessments in other courses at the
university does not constitute an acceptable excuse for late submission of assessments.
Applications for extensions for any assessment items must be made in writing in
accordance with UNSW Guidelines as listed in the Resources for Students document
that can be found at http://sam.arts.unsw.edu.au/resources/
4. Outside employment: Many full-time students undertake part-time employment. It is
assumed, however, that your University studies take priority, and that employment will not
interfere with UNSW class schedules or your ability to complete all assessment items (for all
courses) by the due dates. Students must be able to make a responsible assessment of their
capacity to fulfil the requirements of any chosen external employment and their university
commitments. Outside employment should not be used as an excuse for the non-completion
of assessment items by the due dates.

NOTES FOR COMPLETION OF ASSESSMENT ITEMS:
Assessment Item 1: Reflective Journal on set Activities
Students will be asked to complete a set activity in each week and then write a short reflective
journal entry based on that activity. Directions for each activity will be posted on Moodle
immediately following the lectures in Weeks 1 and 3.
Students must complete the activity and submit their journal entry as a pdf via email to the
lecturer anytime before 10.00am on the day of the lecture in Weeks 2 and 4.
Journal Activity 1 should be approximately 400-500 words in length.
Journal Activity 2 includes two types of activity the written component should be approximately
150-200 words in length.
Late journal entries will not be accepted.
Submission dates: Journal Activity 1: before 10.00am, Tuesday, 05 August (Week 2)


12
Journal Activity 2: before 10.00am, Tuesday, 19 August (Week 4)
Criteria for marking the Reflective Journal include:
the content of each journal entry must make it clear that the set activity has been successfully
completed by the student alone, this is not a group activity, and according to the set guidelines;
the student must be able to express an informed opinion on the outcomes of each activity; this
may be based partly on the students own experience but reference must also be made to the
lecture material and/or literature on the subject (See the Suggested Reading List) when discussing
the outcome of each activity.
the context, whether historical and/or social, for the opinions expressed by the student should be
made clear.
The Reflective Journal comprises 25% of the total mark for this course.
Journal Activity 1 = 10%
Journal Activity 2 = 15%
Students are also strongly advised to keep an extra copy of all submitted work in case they
are asked to resubmit a particular item.
Journals will be assessed and results will be made available to students in Week 5.

Assessment Item 2: Class Test 1
This test will be based on material discussed in lectures and tutorials during Weeks 1 6.
The test will be conducted in the Tutorial time on 03 September (Week 6), and will be
approximately 40 minutes in duration.
Class Test 1 comprises 15% of total mark for this course.

Assessment Item 3: Essay and Film-Scoring Activity
This assessment item is in two parts:
Part 1 - Film-Scoring Activity: You will be asked to provide music to accompany two short
scenes taken from a selected film. The music provided may consist of either (a) original music
composed especially for the scenes; or (b) existing recordings of music that you edit and add to
the scenes. Comprehensive instructions will be given to students on how to complete this aspect
of the assignment.
Part 2 Essay: You must also complete an analytical essay (ca. 1500 words) that justifies your
choice of music in the selected scenes and engages with the current literature on the subject.

Completing Assessment Item 3:
Part 1: Film-Scoring Activity Details for completion:
Several scenes from selected films will be made available to students via Moodle.
Each scene will be approximately two (2) to three (3) minutes in duration.

Step 1. Students are asked to select only one (1) scene with which to work, and download the
scene from Moodle.
Step 2. Two (2) different versions of the same selected scene are to be prepared for this
assignment; so make sure you have two copies of the same film scene file to work on.
The music you provide in each version of the scene should influence the viewer into experiencing
a contrasting interpretation of that scene. For example, a scene might be scored to make a key
moment seem like a positive outcome, and then scored again to make the key moment seem like a
negative outcome. The music used throughout each scene must be consistent with the approach
taken. Students should then compose their music cues, or select examples of existing music, to
add to the movie scene. When adding existing music you may need to edit the audio files into


13
smaller fragments or create fade-in or fade-out effects: editing of audio files is easily done via
software such as Audacity, which is available in the Webster Computer Lab and also available on-
line as a free download.
Music cues may then be added to the movie scene via the use of iMovie.
Further instruction on this aspect of the assignment will be discussed in tutorials.

Please note: all instructions on how to complete this part of the assignment will be given using
Macintosh computers and software. Students who normally use the Macintosh software platform
are encouraged to follow the instructions given in the tutorial and make use of the Computer Lab
(Room 140, 1
st
floor Webster Building) to complete the assignment all students in this course
will have 24-hour/7 day card-swipe access to the Computer Lab.
Alternatively students may use equivalent PC-based software to complete the assignment but the
final version of the files submitted for assessment must be in a format that can be opened and
viewed on a Macintosh computer.
It is the individual students responsibility to ensure that the files submitted are in a compatible
format. Students who submit assignments in an incorrect format (that is, one which cannot be
opened on a Macintosh computer by the lecturer) will be asked to resubmit the assignment but this
will then be treated as a late assignment and be subject to late submission penalties.

The completed assignments must be saved to a CD, DVD, or USB drive, and be submitted
directly to lecturer at the beginning of the lecture scheduled for the due date.
All CD or DVD disks should be submitted in a plastic case, and have the following information
clearly printed on the CD or DVD itself and also on the cover:
- Course name and number;
- Student name and Student number.
- Course Convenor name.
All USB drives must be placed in an ENVELOPE and have the following information clearly
printed on outside:
- Course name and number;
- Student name and Student number.
- Course Convenor name.

Part 2: Analytical Essay Details for completion:
The analytical essay that accompanies your Film-Scoring Activity should provide a formal
justification for the music that has been provided for each of the selected scenes, and provide an
explanation of how the music might be expected to evoke particular emotional responses to, and
interpretations of, each of the selected scenes.
Please note, this is not a matter of merely expressing your personal opinion: you must justify your
selection of music by providing evidence of your understanding of these concepts and those
discussed in the lectures and tutorials delivered throughout the course by making specific
reference to any of the literature on the Suggested Reading List, and provide a context (both
historical and social) for the reasons behind your choice of music for each film excerpt.
You should also provide a Music Cue Sheet for each scene: this is merely a timeline, measured
in minutes and seconds, with annotations about when music appears in, and disappears from, each
the scene.
Analytical Notes should be approximately 1500 words in length. Music cue sheets are not
included in the word count.




14
SUBMISSION DATE: this assessment item should be submitted at the beginning of the
Tutorial at 12.00pm, Wednesday 15 October (Week 11).

Please submit the CD/DVD/USB (containing the files relating to your Film-Scoring Activity)
AND your accompanying Analytical Essay together. The Analytical Notes may be submitted
in hard copy or as a soft copy included as a pdf on the submitted CD/DVD/USB.
A School Cover Sheet, completed and signed by the student, must be attached to the
CD/DVD/USB.
All CD/DVD/USB drives will be returned to the student at the tutorial in Week 13.
Students are also strongly advised to keep an extra copy of all submitted work in case they are
asked to resubmit a particular item.

The Film-Scoring Activity and Analytical Essay comprises 45% of total mark for the course.

Assessment Item 4: Class Test 2
This test will be based on material discussed in lectures and tutorials during Weeks 7 12.
The test will be conducted in the normal class time on 22 October (Week 12), and will be
approximately 40 minutes in duration.
Class Test 2 comprises 15% of total mark for this course.