Professional Documents
Culture Documents
Frank Dufour
School of Arts and Humanities
Arts and Technology
Description of the course: “Introduction to Sound Design”
1 Introduction:
What is sound?
A general definition of sound as a mechanical vibration transmitted by air or any elastic
medium and perceived by hearing.
The main characteristics of sound regarding its physical definition: frequency, amplitude,
duration, and complexity.
What is Time?
Early Middle-Age Music. Extension of the Present as a perception of Time. The
Augustinian conception of Time.
Seq12: Samples
Music from the 12th and 13th centuries. Feeling the movement of time. Listening to the
acoustics. Describing the sensation. The voice as an instrument.
Questions:
What gives, in this sample, the basis of duration?
How many different voices have you heard?
How would you qualify these different voices?
Electroacoustic music from the 70’s
Introduction to the problem of notation.
The invention of the Scale as a relation between Science and Art.
Seq13: Workshop
From sound to images
Choose one or two of the previous samples and try to imagine a physical environment
for this music (is it open, closed, narrow, wide, empty, full, still, agitated?)
Try to imagine moving beings or shapes. What would their movements be like? (Flying,
swimming, walking, running. Would these movements be slow, fast? )
The answer to these questions can be a drawing, a sketch, a literal description; it can be
created or taken from existing pictures or movies.
2
Seq21: Acoustics and History
Notation of Time
The problem of notation in music.
Relationship between the physical characteristics of sound and the notation.
The specific issue of writing Time. How to consider Time as a value or as a
measurement? The Scientific description of Time (Aristotle to Descartes).
Abstraction of the Sign. Extraction of the Author (described as the one who creates the
sign) and of the Spectator (described as the one who deciphers the sign).
Seq22: Samples
Music from the 15th and 16th Centuries. Extension of the Polyphony. Normalization of the
instruments and voices.
Comparison to the Painting of the same era. The organization of representation of
Space and Time from a Point of view located “outside” Space and Time.
Seq23: Workshop
3
Seq31: Acoustics and History
Acoustics: Propagation
The acoustics of rooms. Reverberation, absorption, diffraction. Stationary waves.
Material and their acoustic properties.
The acoustics of music halls and theaters. The acoustics of technical rooms.
Seq32: Samples
Music from the 17th and 18th Centuries.
Seq33: Workshop
Editing
Using the “cut and paste” options of ProTools to assemble sections of music. Using the
“fade In / fade Out”.
Setting the levels of the different sections.
Each student will have to create a session composed with, at least, three different music
samples, for a total duration of 3 minutes. The session will include 1 Fade In, 1 Fade
Out, and a “cut” transition.
Exporting the session and making available for other applications.
Analog recording
The principles of early analog recording.
The different types of microphones: how they work, how they sound.
Seq42: Samples
Seq43: Workshop
Seq52: Samples
Music from the end of the end of the 19th Century and early 20th. Ravel, Debussy,
Bartok, Stravinsky, Schoenberg…
Seq53: Workshop
A loud voice is not a scream
A light voice is not a whisper
ProTools editing functions.
Organizing files for editing.
Editing “around” the file (beginning and ending)
Editing inside the sound (removing lips noises, hums and breaths)
Replacing parts of words
6
Seq61: Acoustics and History
Seq62: Samples
Seq63: Workshop
Serialism
The new relationship between music and mathematics.
Seq72: Samples
Seq73: Workshop
Students, during the 8 following workshops will create sound objects, patterns and
sound-scapes in order to produce a coherent sound track for a sequence taken from a
silent movie. The sequence should not be longer than 10 minutes, the ideal duration
being around 5 minutes.
The students will first analyze the sequence; describe its length, its rhythm, the number
and length of all the shots used in this sequence, the movements, the meanings, the
intentions, and the actions…
They will then identify all the sound objects or events present in this sequence, their
position, and their qualities… From this a list of all the sound events should be drafted.
This list should be presented as a musical score showing the position (in time and
space) and duration of all these events.
In this list the students should identify common properties of these events and imagine
links (harmonic, rhythmical, symbolic…) between them.
Recording
Using the microphone as an instrument.
Seq82: Samples
Computer music.
Formal Music. Iannis Xenakis.
Spectral Music
Seq83: Workshop
Seq92: Samples
Seq93: Workshop
10
Seq101: Acoustics and History
Seq102: Samples
Seq103: Workshop
11
Seq112: Samples
Listening to various non-European Music
Seq113: Workshop
12
Seq121: Acoustics and History
Sound and Cinema
Sound and cinema: the technical issue. History of sound and cinema. The presence of
sound in silent movies.
Seq122: Samples
Seq123: Workshop
13
Seq131: Acoustics and History
The different components of a movie sound track: voice, sound effects, and music.
How to analyze a movie sound track? The different ways to qualify sounds.
Relatively to the window: is the sound related to a visual cause that can be seen in the
window? Is it related to visual cause that is not seen in the window but is suggested
“outside” the window?
Relatively to the visual moment: Is the sound contemporary of the visual moment? Is it
located in the past or the future of this moment?
Relatively to the Narration: does the sound belong to the diegetic universe? The
diegetic universe is the universe that is created by the Narration: space, Time,
characters…
Seq132: Samples
Films from Jacques Tati (Mon Oncle). Sound Tracks from Michel Fano.
Seq133: Workshop
The issues of a Sound Library: How to describe and to classify a sound? How to create
consistent collections of sounds? How to access to a sound or a category of sounds?
The indexical, literal, and abstract approaches.
The scientific approach.
The phenomenological approach. Semiotic Temporal Units: introduction.
Seq142: Samples
Complex movie Sound Tracks: David Lynch (Eraser Head, Lost Highway)
Complex cartoon Sound Tracks.
The relationship between visual movement and sound. The relationship between visual
effects and sound effects.
Seq143: Workshop
15
Seq151: Acoustics and History
Semiotic Temporal Units: their use in sound analysis, description and classification.
Seq152: Samples
While listening to music the students shall have to divide what they hear into consistent
fragments and then analyze these fragments as STUs.
Seq153: Workshop