MFV

SPRING TERM 2010


24-2104 Music For Film
1104 Center Room 706M

Instructor: Kerry Kelekovich


Columbia College Chicago
600 S. Michigan Ave. Chicago IL 60605
Course Coordinator: Sharon Zurek

 

Audio Suite Phone 312-344-6585
Home Phone: Use email
Fax Number 312 344 8044

Email Address: kkelekovich@colum.edu

Office Hour: by appointment only

Office Location: 1104 S. Wabash / Rm706
Mailbox Location: 3rd Floor Office Suite

Required Texts and Materials

Reading material provided in class.
See your Oasis WEBLINKS and HANDOUTS for course material.
Reference recommendations available upon request.

Supplies/Materials

All drives and media are provided.

Bibliography, supplemental and suggested readings

On the Track: Fred Karlin: ISBN 9780415941365

The following texts are highly recommended for a more thorough understanding of audio for film and video:

Yewdall, David Lewis, Practical Art of Motion Picture Sound, (Boston: Focal Press, 2007) ISBN-10:0240808657
Kenny, Tom, Sound for Picture – The Art of Sound Design in Film and Television, 2nd ed. (Vallejo,CA: Mix Books, 2000) ISBN-10: 0872887243
Holman, Tomlinson, Sound for Film and Television, (Boston: Focal Press, 2002) ISBN-10:0240804538

Texts are available online. Additional readings may be required.

Instructional Resources Fee: $115

 

Content introduction
Welcome to Music For Film. I have been teaching this course over 20 years and I hope to assist you in your quest for understanding musical concepts and applications for film & video production. Music For Film presents new musically oriented information (aesthetic, technical and business) and reinforces solid sound practices for filmmakers.

Course description
Students are introduced to elements of music and ways in which these elements may be used to create a musical style that enhances the visual statement. Course emphasizes understanding the function of the score and how it relates to texture, color, and drama in music. Students explore their creativity using the tools available, work on projects of increasing complexity, and complete a score for their own film or video as a final project. Listening skills, music vocabulary, and business and legal aspects of the profession are also studied.

Course rationale
Students that traditionally enroll in Music For Film have a keen interest in music usage and production for films they are currently working on (or will be working on). While it is not required that you have a technical background, basic computer and writing skills and the understanding of the basic principals of filmmaking are required.

Grading policy and evaluation procedures

Credit hours: 4 credits


Grading scale:

100-95% = A
94-90% = A -
89-86% = B+
85-83% = B
82-80% = B -
79-76% = C+
75-73% = C
72-70% = C -
69-60% = D
59% + Below = Failure

 

Standards and proportions used:

25% Midterm

25% Final Exam

25% Greyzone Presentation

25% Final Project

Prerequisites:

24-1710 SCREENWRITING I: WRITING SHORTFILM,

24-1510 AESTHETICS OF CINEMA,

24-1020
PRODUCTION II,

24-1700 DEVELOPMENT AND PREPRODUCTION,

24-1500 History of Cinema

Learning Objectives:
At the successful completion of this course, the student will have a thorough understanding of musical applications for filmmaking including the functions of the score, music supervision,
publishing/licensing, fair use and soundtrack strategies.

* Teamwork and group conceptualization is a vital component of this class.

Requirements and assignments:

Analysis Presentation
Midterm
Final Exam
Final Project

Classroom policies

Academic Integrity:
All students are responsible for ensuring that original work is correctly attributed.
Students must give clear and complete attributions for the work of others in their films.
Plagiarism will not be tolerated and will result in the failure of the course.


Attendance Statement:
There are no excused absences.
Your third absence will result in an automatic reduction of your final grade by one letter.
Your fourth absence will result in an automatic F for the course.


Absences:
Use email evening before class when possible.


Tardiness:
Arriving 15 minutes after the scheduled starting time for the class will be considered a late arrival.
Two late arrivals will result in one absence.
Leaving earlier than 15 minutes before the scheduled end for the class will be considered an early exit.
Two early exits will result in one absence.
Late work and makeup assignments:
All late work is expected to be turned in asap.
However, if the assignment is not turned in by the next class meeting, the student will receive an F for that assignment. ALL rewrites are due the next class.


Incomplete Policy
No incomplete grades will be given for this course.

Conaway Center Statement


Students with disabilities are requested to present their Columbia accommodation letters to their instructor at the beginning of the semester so that accommodations can be arranged in a timely manner by the College, the department or the faculty member, as appropriate.

Students with disabilities who do not have accommodation letters should visit the office of Services for Students with Disabilities in room 520 of the Congress building (312.344.8134/V or 312.360.0767/TTY).

It is incumbent upon the student to know their responsibilities in this regard.
 

Additional suggestions, guidelines and or notice:

  •  Mandatory Attendance for individual conferences
  •  No pagers or cell phones allowed.
  •  No late work will be accepted without prior clearance.
  •  Your Oasis portal will include handouts to download and weblinks to utilize for reference including glossaries from various sources to help define language and concepts found in this class.
  •  Basic computer operation and writing skills are required for this class.
  •  Proficiency in performance with a musical instrument is not required but it is MOST welcome.

 

Disclaimer statement

Please note that individual class sessions are subject to change. The instructor will make every effort to keep the students informed of changes in the schedule. Some items may change at the instructor's discretion, but the overall workload will not change.

Return of Student Work

No work will be returned. It is the student's responsibility to make copies of all work turned in.

 

Course Calendar | SPRING '10

Sequence of individual class sections subject to change

ALL reading material required will be provided throughout the semester

WEB LINKS PROVIDED IN OASIS

1/26 | Week 1: Introduction to Music for Film

* Examples for discussion
* Student profiles

Gladiator (2000)
Ladyhawke (1985)

2/2 | Week 2: Functions of the Film Score

In the following weeks, using clips compiled to DVD, we will explore and discuss the relationships between the composer & filmmaker, score & film and editing strategies.
1. Music to enhance the frame and plot is examined.
2. Technical and aesthetic terminology defined.

2/9 | Week 3: Functions Of The Score II

Shawshank Redemption (1995)
American Beauty (1999)

2/16 | Week 4: Functions III

The Eternal Sunshine/Spotless Mind Exercise (music example) selections sampled.
Groups discuss and edit music choices for Spotless Mind exercise and select the BEST cue options.

Far From Heaven (2002)
Donnie Darko (2001)

2/23 | Week 5: Screening/Analysis Week

    1. Students will use this week to screen the film that they will use for their class presentation.
    2. After watching your selection, please choose a 15 minute segment that supports your presentation following our Greyzone Guidelines (available to download at the Handouts portal in Oasis).
    3. Chapter cue points required.
      • Assignment:
        A one page “Greyzone” synopsis, detailing your film target (with director and composer/music supervisor) and the goals of your presentation including the reason you’ve selected your film choice, is due on 3/2.

3/2 | Week 6: Conclusion to Functions Of The Score

3/9 | Week 7: MIDTERM REVIEW
Students drawing 1-4 should be prepared to present their clip choice to the class 3/30. As we move along each week we will determine who's due for next class. The usual rotation completes 3-4 presentations, on average, each week.

3/16 | Week 8: MIDTERM
There is no makeup for people who skip this exam. A clearance from the film department required for an exemption.

3/30 | Week 9: Project Production Techniques - From notes to ProTools

4/6 | Week 10: Production techniques & copyright laws: Under the kitchen sink

 

4/13 | Week 11: Project Production Week: Using the studio

Grizzly Man (2005)

4/20 | Week 12: Greyzone Presentations conclude

4/27 | Week 13: Project Development

5/4 | Week 14: Semester Review & Final Project Screenings

5/11 | Week 15: Final Exam Discussion & Final Project Screenings

There is no makeup for people who skip this exam. A clearance from the film department required for an exemption.

 

© 2010 Kerry Kelekovich / Superclammy, Ltd. Publishing