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Presentation for "Provas de Agergação" - 2 relatorio

Slides for the Aggregation Examination (Provas de Agregação) at UCP-Porto (Auditório Carvalho Guerra) Monday and Tuesday (5 & 6 Jan 2014) .

Outline of the Sessions:

DAY 1 (3:00PM-5:00PM)
Discussion of my Curriculum and Pedagogical Report on Sound Design for Cinema

DAY 2 (3:00PM-5:00PM)
Synthesis Lesson and Discussion on the Topic "The Basic Principles of Networked Music Performance"

Jury Members:
Professor Maria da Glória Garcia (Rector of UCP)
Professor Gonçalo Vasconcelos e Sousa
Professor João Sentieiro
Professor António Câmara
Professor António Quadros Ferreira
Professor Pedro Rebelo

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Presentation for "Provas de Agergação" - 2 relatorio

  1. 1. 2.  RELATÓRIO  PEDAGÓGICO   PROVAS  DE  AGREGAÇÃO   5  de  Janeiro  2015   Álvaro  Barbosa   abarbosa@porto.ucp.pt   www.abarbosa.org   Escola  das  Artes    Universidade  Católica  Portuguesa   www.porto.ucp.pt   Faculdade  de  Indústrias  Cria>vas    Universidade  de  São  José   www.usj.edu.mo  
  2. 2. Slide  #  2  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico  
  3. 3. Slide  #  3  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico   In  cinema  the  majority  of  the  sounds  that  we  hear  appear  to  be   generated  naturally  from  the  scene  we  are  watching.       However:   – OPen  up  to  80%  of  sounds  in  a  film  are  added  in  post-­‐produc>on  (100%   in  animated  films).  This  implies  the  reproducNon  of  the  psycho-­‐acousNc   phenomenon  in  a  sound  studio.   – The  process  of  producing  sound  components  for  movies  is  extremely   Nme  consuming  and  technically  complex,  demanding  extensive   organizaNon  and  collaboraNon  with  other  Stakeholders  (Producers,   Scriptwriters,  Directors,  Visual  Ar>sts,  Video  Editors,  Etc.)     – Sound  and  Music  Design  Dras>cally  changes  the  message  conveyed  by   the  Visuals.  
  4. 4. Slide  #  4  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico   The Sound and Image program includes: Undergraduate degrees covering video, audio and multimedia production; MASTER degrees in computer animation, digital arts, sound design, audiovisual production, scriptwriting; PHD program in computer music and interactive art.
  5. 5. Slide  #  5  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico   The  produc8on  techniques  of  sound  are  possibly  much  harder  to  study,   because:   – We  are  accustomed  to  ignore  (or  process  subconsciously)  the   majority  of  sounds  in  our  environment.   – Our  main  source  of  informa>on  from  the  environment  is  visual.   – We  are  accustomed  to  think  of  sound  and  cinema  accompanied  by   visual  informa>on.     – When  analysing,  it’s  not  possible  to  freeze  a  frame  of  sound  and   examine  its  concept  and  cinematographic  expression,  which  one  can   do  with  image,  framing  and  analyse  its    ligh>ng,  framing,  mise-­‐en-­‐ scene,  etc.  
  6. 6. Slide  #  6  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico   Introduction to Sound Design Objectives: 1.  Introduce  students  to  music  and  audio,  the  spoken  word  and   other  sounds  as  an  art  form  applied  to  diverse  audio-­‐visual   media   2.  Develop  the  culture  of  analyzing  sound  produc>on  and  discuss   it  with  a  common  language  used  by  other  stakeholders  from  an   Audiovisual  produc>on  environment.   3.  Explain  how  to  Formulate  and  convey  ideas  or  feelings  trough   the  use  of  Sound  and  Music   4.  Establish  the  role  of  sound  as  a  vehicle  to  influence  and   support  the  interpreta>on  of  a  Scene.  
  7. 7. Slide  #  7  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico   Introduction to Sound Design Outline: 1.  Motivation and the study of sound in cinema Characterization and history. 2.  Analysis of the production process Voices, Sound Effects, Music and Background Sound. 3.  Analysis of the transmitted message Diegetic / Non-diegetic / Meta-Diegetic sound and Oníric. 4.  Transformation and editing of sound Amplitude, Pitch, Timbre and Spatialization. 5.  Traditional techniques Silence, Sound Masking, Interior Sounds, Overlapping, Anticipation, “Split Second”, “Mickey Mousing”, “Leit Motif”.
  8. 8. Slide  #  8  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico   1. Motivation and History
  9. 9. Slide  #  9  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico  
  10. 10. Slide  #  10  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico   2. Production Process
  11. 11. Slide  #  11  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico  
  12. 12. Slide  #  12  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico   1.  VOICE   1.1  Dialogue   1.2  Performance   1.3  Narrator   1.4  Interior  Monologue         2.  BACKGROUND   SOUNDS   2.1  Soundscapes   2.2  Background  Voices   2.3  Objec>ve  Music   (Diage>c)           3.  SOUND  EFFECTS   3.1  Foleys   3.2  Hard  Foleys   3.3  Special  Effects   3.4  Procedural  Audio         4.  MUSIC   4.1  Musical  Effects   4.2  Pre-­‐Exis>ng   4.3  Scored   TAXONOMY  OF  SOUND  LAYERS  
  13. 13. Slide  #  13  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico   FOCUS – Procedural Audio (Andy Farnell)
  14. 14. Slide  #  14  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico   FOCUS – Procedural Audio (Andy Farnell)
  15. 15. Slide  #  15  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico   FOCUS – Music Composer (Alexandre Desplat) It’s  not  my  Music,  It’s  the  Music  for  His  Film”  
  16. 16. Slide  #  16  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico   3. Convey the Message
  17. 17. Slide  #  17  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico   Pierre  Schaeffer     Traité  Des  Objets  Musicaux  (1967)   Pauline  Oliveros   Deep  Listening  (1988)  
  18. 18. Slide  #  18  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico   Michel  Chion’s  Listening  Modes  (1990  Audio  Vision)  
  19. 19. Slide  #  19  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico   Michel  Chion’s  Listening  Modes       1.  Casual  Listening   Iden>fica>on  of  the  source/origin     (Dependent  on  context  and  prior  knowledge)   2.  SemanNc  Listening   Iden>fica>on  of  the  content  of  the  transmimed   message  (Understand  the  Meaning    of  the  message)   3.  Reduced  Listening  (P.  Schaeffer)   Analy>cal  and  descrip>ve  listening  of  sound     (independent  of  context  and  meaning)  
  20. 20. Slide  #  20  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico   The  space  in  the  screen  (Michel  Chion  “Audio  Vision”  –  1990)  
  21. 21. Slide  #  21  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico   Claudia  Gorbman  in  1976  in  the  taxonomy  of  sound  for  film  “Teaching  the  SoundTrack”   published  in  the  magazine  “Quarterly  Review  of  Film  Studies”.     DIAGETIC AND NON DIAGETIC Sounds of Reality VS Unreal sounds that enhance Reality META-DIAGETIC Sound of and Altered State of Mind ONEIRIC Entering a Dreamlike State
  22. 22. Slide  #  22  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico   4&5. Editing Techniques
  23. 23. Slide  #  23  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico   Many  PracNcal  Examples  such  as  Sound  Overlapping  in:     O  Trovão  -­‐  2008,  Álvaro  Barbosa    
  24. 24. Slide  #  24  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico   Introduction to Sound Design Learning Outcomes: 1.  Understand  the  principles  of  acous>cs  and  psycho-­‐acous>cs   underlying  Sound  Design   2.  Analyze  and  explain  correctly  the  effect  of  sound  in  any  Video   3.  Know  and  apply  the  Taxonomy  of  sound  layers  in  a  prac>cal   structure  of  a  Sound  Design  project   4.  Dis>nguish  high  quality  from  mediocre  Sound  Design   5.  Apply  Classical  Audio  Edi>ng  Technique  in  a  video  project   6.  Fill  out  a  Log-­‐Sheet  comprehensively,  using  the  key  concepts   from  Sound  Design  Theory  learned  in  the  Module  
  25. 25. Slide  #  25  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico  
  26. 26. Slide  #  26  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico   Introduction to Sound Design Assessment: 1.  Individual  Presenta>on  and  paper  describing  the  sound  and   Music  Design  for  a  Movie   2.  Individual  Exercise  with  Log-­‐Sheets   3.  Group  Project  for  recording  and  colle>ng  and  inventory  of   sound  sources  for  and  Audiovisual  Project.   4.  Discussion  and  par>cipa>on  in  Class   5.  Amendance   6.  Results  from  Peer-­‐Evalua>on  (Presenta>on)   7.  Results  from  Hetero-­‐Evalua>on  (Group  Work)  
  27. 27. Slide  #  27  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Álvaro  Barbosa  –  Relatório  Pedagógico  
  28. 28. Slide  #  28  /  Author:  Álvaro  Barbosa  (www.abarbosa.org)   Thank  You!!!!     abarbosa@usj.edu.mo   www.abarbosa.org     University  of  Saint  Joseph|  Faculty  of  CreaNve  Industries   hmp://www.usj.edu.mo  

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Slides for the Aggregation Examination (Provas de Agregação) at UCP-Porto (Auditório Carvalho Guerra) Monday and Tuesday (5 & 6 Jan 2014) . Outline of the Sessions: DAY 1 (3:00PM-5:00PM) Discussion of my Curriculum and Pedagogical Report on Sound Design for Cinema DAY 2 (3:00PM-5:00PM) Synthesis Lesson and Discussion on the Topic "The Basic Principles of Networked Music Performance" Jury Members: Professor Maria da Glória Garcia (Rector of UCP) Professor Gonçalo Vasconcelos e Sousa Professor João Sentieiro Professor António Câmara Professor António Quadros Ferreira Professor Pedro Rebelo

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