bachelor of arts with honors

www.ums.edu.my/astif +6088-320000 [email protected]

BACHELOR OF ARTS WITH HONORS

CODE BPKP PROGRAMMES OFFERED

UH6212001 Music Studies

UH6212002 Creative Arts

BACHELOR OF VISUAL ARTS TECHNOLOGY WITH HONOURS

CODE BPKP PROGRAMMES OFFERED

UH6210001 Visual Arts Technology

http://www.ums.edu.my/astif

mailto:[email protected]


MUSIC STUDIES (UH6212001)

CM10102 THEORY AND HARMONY I

This is an introductory theory and harmony course, where students get to study the music foundation which are essential

to develop their skills and take them to a higher level. The study covers harmonic progression and also, it deepens the

understanding of musical structure. The students also study transposition, identify basic tonal sounds, melodic

composition, and analysis of different genre of music.

References

Wyatt, K. (1998). Harmony and Theory. Milwaukee : Hal, Leonard.

Pople, A. (1994). Theory, analysis and meaning in Music. New York : Cambridge University Press.

Turek, R. (1996). The Elements of Music. New York : The McGraw Hill

Damschroder, D. (1992). Foundations of Music and Musicianship. New York : Schirmer Books.

Schenker, H. (1998). Harmony. Chicago : The University Of Chicago Press.

Taylor, E. (1998). The AB Guide to Music Theory , Part I. London : The Associated Board of the Royal Schools of Music.

CM10202 THEORY AND HARMONY II

This course is a continuation from Music Theory and Harmony I. This course emphasizes on the study of tonal harmony

and melody, writing for keyboard, transposition, basic composition and arrangement of voices / instruments and the

analysis of music for vocal and orchestral scores.

References

Wyatt, K. (1998). Harmony and Theory. Milwaukee: Hal, Leonard.

Pople, A. (1994). Theory, analysis and meaning in Music. New York: Cambridge University Press.

Turek, R. (1996). The Elements of Music. New York: The McGraw Hill

Damschroder, D. (1992). Foundations of Music and Musicianship. New York: Schirmer Books.

Schenker, H. (1998). Harmony. Chicago: The University of Chicago Press.




Taylor, Eric, (1998). The AB Guide to Music Theory Part II. London: The Associated Board of the Royal School of Music

Publishing.

Loh, Phaik Kheng. (1991). A Handbook of Music Theory, Part I1. Penang: Rhythm Distributor Sdn Bhd.

CM 11102 TEXTURAL ANALYSIS OF WESTERN MUSIC I

This course is an introductory to western music history, providing students with an understanding of music from the

medieval to the Baroque period. Students are required to do listening, discussion, and music analysis. The course will

cover the introduction of musical elements, forms, and stylistic performance from these early periods, and it provide

students with exposure to a variety of musical compositions from leading composers from each era.

References

Kamien, R. (1998). Music: An Appreciation. New York: McGraw Hill.

Ferris. J. (1999). Music: The Art of Listening. New York: McGraw Hill.

Zorn, J. (2000). Listening to music. New Jersey: Prentice Hall.

Bennett, R. (1995). History of Music. New York: Cambridge University Press.

Yudkin. J. (2004). Discover Music. Pearson: Prentice Hall.

CM 11002 TEXTURAL ANALYSIS OF WESTERN MUSIC II

This course is a continuation from Textual Analysis of Western Music I. The course emphasizes on western music history,

providing students with an understanding of music from the classical period to 20th Century period. Students are required

to do listening, discussion, and music analysis. The course will cover the introduction of musical elements, forms, and

stylistic performance from these periods, and it provide students with exposure to a variety of musical compositions from

leading composers from each era.

References

Kamien, R. (1998). Music: An Appreciation. New York: McGraw Hill.

Ferris, J. (1999). Music: The Art of Listening. New York: McGraw Hill.




Zorn, J. (2000). Listening to music. New Jersey: Prentice Hall.

Bennett, R. (1995). History of Music. New York: Cambridge University Press

Yudkin. J. (2004). Discover Music. Pearson: Prentice Hall.

CM10501 PRACTICAL INSTRUMENTAL: MINOR STUDY I

This course provides students with the fundamentals of playing with the Keyboard in a Lab. Strong emphasis is given to

the development of music reading, composing melody, and identifying chord structures. All students are assessed

through weekly progress, mid-terms, and final assessment. Lab content is musically related to ensemble playing,

arranging music course and private instruction.

References

Bailey, W. 1992. Teaching Brass: A Rezourse Manual. USA: McGraw.

Lamb, N. 1994. Guide to Teach Strings. 6th. Edition. USA: McGraw-Hill.

Spohn, C. 1993. The Percussion: Performance and Instructional Techniques. Boston: Allyn and Bacon Inc.

Starr, Constance. 1992. Practical Piano Skills. (5th edit.). USA: McGraw.

Tanner, Paul O. 1997. Jazz (8th.edit.). USA: McGraw. Ware, C. 1998. Basic of Vocal Pedagogy. USA: McGraw.

Westphal, F. 1992. Guide to Teaching Woodwinds (5th edit.). USA: McGraw.

CM10601 PRACTICAL INSTRUMENTAL: MINOR STUDY II

The continuation of Practical Instrumental Minor Study I, this course provides students further knowledge of playing and

performing techniques for Keyboard Lab. Strong emphasis is given to the development of music reading and various

techniques related sucah as phrasing, articulation & dynamic. All students are assessed through weekly progress and

mid-terms and final assessment. Students are advised to sit for proficiency test for the minor instruments through,

ABRSM, Australian Guild of Examination or examination that are recognized by the Universiti Malaysia Sabah upon their

graduation.

References


Lamb, N. 1994. Guide to Teach Strings. 6th. Edition. USA: McGraw-Hill.





Starr, Constance. 1992. Practical Piano Skills. (5th edit.). USA: McGraw.

Tanner, Paul O. 1997. Jazz (8th.edit.). USA: McGraw. Ware, C. 1998. Basic of Vocal Pedagogy. USA: McGraw.


CM10901 ENSEMBEL INSTRUMENTS & VOCAL I

CM11201 ENSEMBEL INSTRUMENTS & VOCAL II

CM22101 ENSEMBEL INSTRUMENTS & VOCAL III

CM22201 ENSEMBEL INSTRUMENTS & VOCAL IV

CM33901 ENSEMBEL INSTRUMENTS & VOCAL V

CM33602 ENSEMBEL INSTRUMENTS & VOCAL VI

This course provides students with the opportunity to join an ensemble according to their knowledge of a particular

instrument. Those who are majoring in vocal and those who do not have any formal music training in orchestral

instruments is encouraged to join the choir. Those with formal training of music instruments such as strings, brass,

saxophones, flutes, clarinets, and keyboards are required to join the orchestra. The instrumental / vocal ensemble focuses

on the performance in a variety of musical styles. Classes will cover performance techniques utilized in contemporary

musical idioms such as jazz, rock, tradisional and pop.

References

Dornemann, J., 1992. Complete Preparation - A Guide to Auditioning for Opera. Excalibur Publishing. Agricola, J. F.,

1995. Introduction to the Art of Singing. Cambridge Uni. Press.

Ware, C., 1995. Adventures in Singing - A process for Exploring, Discovering and Developing Vocal Potential. McGraw

Hill.

Brinson, B. A. 1996. Choral Music. – Methods and Materials – Developing Successful Choral Programs. Schirmer Books.

Bennett, P.D., & Bartholomew, D. R. 1997. Singing in the Education of Children. Wadsworth Publishing Company.

Collins, D.L., 1999. Teaching Choral Music. Prentice Hall.

Novak, E. A., 1988. Performing in Musicals.

Schirmer Books. Tower, M. G., 1997. Choral Connection Level I Mixed Voices. McGraw Hill.




CM10701 AURAL TRAINING I

This course is important to students in providing knowledge on basic concepts of intervals, chords, and rhythm supporting

other music courses for example: orchestra, harmony, modern harmony, composition, arrangement and conducting. The

course trains students in the recognition and transcription of rhythms, intervals, chords, melodies, as well as singing

melodies using solfege.

This level will be touching on the basics of solfege and students will be taught on the basics of music dictation skills.

Assessment will be done via written examinations targeting rhythmic, Interval, Chordal, and Melodic dictations.

References

Eslava, Hilario - Metodo de Solfeo

Danhauser, Adolphe - Solfège des Solfèges

Knowles, Greg - Reading Exercises for Solfège, 2nd Edition. Helion Group, 2003

Prosser, Steve - Essential Ear Training for the Contemporary Musician, Berklee Press, 2000

Monroe, L. (1975). Ear Training 1 and 2, Berklee Publishing

CM10801 AURAL TRAINING II

The level II of Aural Training is the continuation from Aural Training I. This level will be touching on Pitch, Melody,

Rhythm, Intervals, and Texture. Students will be recognizing the basics of melody, the listening implication, and its

notation. They will be asked to play back and rewrite what they have listened for rhythm and melody in one voice up.

Students also will learn the timing patterns and introduction to conducting methods. They must know the tempo terms

and all basic chords in root position and all inversions. They must sing using the original names and sol-fa for the notes.

Students will be assessed throughout the course.

References

Monroe, L. (1975). Ear Training 2, Berklee Publishing.

Danyszowa, H., Iszkowska, Z., Jargon, J., Leitner, M., Moszumanska-Nazar, K. (1996). Exercises to practice Sol-Fa, PWM

Edition.




Dziewulska, M., Fraczkiewicz, A., Pawlowska, K. (1996). Materials for Sol-fa training, PWM Edition. Lasocki, J. K. (2001).

Sol-fa - part 1, PWM Edition.

Drogomirov, P. (2001). Sol-fa, “Music” Edition.

CM11401 MUSIC SOFTWARE NOTATION

This course focuses on the usage of Music Notation Technology. The course cover not only the knowledge in music

notation, but also the history and the development of musical notation, music notation for education, understanding the

different types of musical score notation used in different settings such as in concerts, smaller ensembles, symphonic

band, big orchestra and commercial jazz band.

References

Sibelius 7 User Manual Guide, Manning, P 1993 Electronic and Computer Music 2nd Edition UK: Clarendon Press, Russ,

M. (1996) Sound Synthesis and Sampling, Focal Press, UK SOS

Publication 1999 MIDI for The Technophobe

Rumsey F & Watkinson, J. 1993 The Digital Interface Handbook. UK: Focal Press Rumsey, F. 1994. MIDI System &

Control 2nd Edition. UK: Focal Press

Laurel, B. 1990 The Art of Human-Computer Interface Design

Huber, DM. 1995. Hard Disk Recording for Musicians. New York: AMSCO Publication. Mellor, D. 1992. How to setup a

Home Studio. PC Publishing.

Millward, S. 1998. Fast Guide to Cubase.VST. PC Publishing.

Rumsey, F. 1994. MIDI System and Control. Focal Press. Russ, M. 1996. Sound Synthesis and Sampling. Focal Press.

Sibelius 7 User Manual Guide, Manning, P 1993 Electronic and Computer Music 2nd Edition UK: Clarendon Press, Russ,

M.




CM10302 PRACTICAL INSTRUMENTAL: MAJOR STUDY I

CM10402 PRACTICAL INSTRUMENTAL: MAJOR STUDY II

CM21502 PRACTICAL INSTRUMENTAL: MAJOR STUDY III

CM21602 PRACTICAL INSTRUMENTAL: MAJOR STUDY IV

CM32902 PRACTICAL INSTRUMENTAL: MAJOR STUDY V

CM33002 PRACTICAL INSTRUMENTAL: MAJOR STUDY VI

This course provides students with the latest playing and performing techniques, including vocal, that are currently

practice by professional instrumentalist/soloist in the music industry. Strong emphasis is given to the development of

music reading and various techniques relating music phrasing, articulation, and dynamics. All students are assessed

through weekly progress, mid-terms, and final assessment. Students are required to sit for proficiency test for the major

instruments through, either ABRSM, Australian Guild of Examination or examination that are recognized by the Universiti

Malaysia Sabah upon their graduation.

References


Lamb, N. 1994. Guide to Teach Strings. (6th. Edit.). USA: McGraw-Hill.


Starr, Constance. 1992. Practical Piano Skills (5th editi.). USA : McGraw.

Tanner, Paul O. 1997. Jazz (8th.edit.). USA : McGraw.

Ware, C. 1998. Basic of Vocal Pedagogy. USA: McGraw.


CM11601 MALAYSIAN TRADITIONAL MUSIC I

This course gives students the opportunity to play traditional instruments that are commonly found in Malaysia and one

of these instruments is the gamelan. The students are taught to read numbers, a form of musical notation, to play the

various gongs that are found in a Gamelan ensemble. Local repertoires would include traditional and popular tunes.




References

Tan Sooi Beng. 1984. Asas-asas Muzik. USM Pulau Pinang.

Mohd. Ghouse Nasaruddin, 1989. Muzik Melayu Tradisi. Kuala Lumpur: Dewan Bahasa dan Pustaka

Matusky, P. & Tan, S.B. (1997). Muzik Malaysia: Tradisi Klasik, Rakyat dan Sinkretik. Pulau Pinang: Asian Centre Penang

& Akademi Seni Kebangsaan.

Aziz Deraman & Wan Ramli Wan Mohamad. (1994). Muzik dan Nyanyian Tradisi Melayu. Kuala Lumpur: Fajar Bakti.

Nik Mustapha Nik Mohd. Salleh. (1998). Alat Muzik Tradisional Dalam Masyarakat Melayu. Kementerian Kebudayaan,

Kesenian dan warisan Malaysia.

CM23101 MALAYSIAN MUSIC TRADITIONAL II

This course is a continuation of the course of study TRADITIONAL MUSIC I. In this course, students are taught to play

Sabah’s traditional instruments such as the bungkau, Sompoton, suling, Babadon, and Turali. Student are given various

folk songs to be played using these traditional musical instruments. The course teaches students the theoretical

foundations of traditional music using Malaysia as a reference book for students.

References

Tan Sooi Beng. 1984. Asas-asas Muzik. USM Pulau Pinang.

Matusky, P. & Tan, S.B. (1997). Muzik Malaysia: Tradisi Klasik, Rakyat dan Sinkretik. Pulau Pinang: Asian Centre Penang

& Akademi Seni Kebangsaan.

Pugh Kitingan, Jacquline. 2004. Selected papers on Music in Sabah. Universiti Malaysia Sabah.

Pugh Kitingan, Jacquline. 2003. Alat-alat dan muzik instrumental Dusun Tambunan.Kota Kinabalu. Jabatan Kebudayaan

dan

Keseniaan Negeri Sabah.

Resot Iggau & Roslee HJ. Wahid. 2012. Proses pembuatan dan teknik asas permainan alat muzik Tongkungon suku

kaum

KadazanDusun di Daerah Tambunan dan Keningau Sabah.Universiti Malaysia Sabah.




CM 21302 HARMONY AND COMPOSITION I

This course emphasizes on the study of tonal and modern harmony of melody, transposition, basic composition and

arrangement of voices and instruments, rewriting a given passage to include appropriate suspensions and notes of

melodic decoration and analysis of music scores.

References

Howard, J. (1990). Learning to compose. New York: Cambridge University Press.


Turek, R. (1996). The Elements of Music. New York: The McGraw Hill Co.

Damschroder, D. (1992). Foundation of Music and Musicianship. New York: Schirmer Books.

Schenker, H. (1998). Harmony. Chicago: The University of Chicago.


Publishing.

Loh, Phaik Kheng. (1991). A Handbook of Music Theory, Part I1. Penang: Rhythm Distributor Sdn Bhd.

CM 21402 HARMONY AND COMPOSITION II

This course is an advanced study of music harmonic vocabulary, the writing of piano accompaniment for keyboard and

orchestral instruments, such as Trio sonata style for keyboard and two orchestral instruments. The course also includes

the analysis of musical score from different styles and different periods.

References

Howard, J. (1990). Learning to compose. New York: Cambridge University Press.


Turek, R. (1996). The Elements of Music. New York: The McGraw Hill Co.

Damschroder, D. (1992). Foundation of Music and Musicianship. New York: Schirmer Books.

Schenker, H. (1998). Harmony. Chicago: The University of Chicago.


Publishing.

Loh, Phaik Kheng. (1991). A Handbook of Music Theory, Part I1. Penang: Rhythm Distributor Sdn Bhd




CM22302 ARRANGING FOR CHAMBER MUSIC

This course introduces the art of constructing musical arrangement, using various instruments in a chamber setting.

Students are introduced in the construction and the progression of Chords (harmony) to support a given melody. The

learning outcome from this course is the students’ ability to understand the relationship between melody and harmony

in their musical arrangement. The course, also cover topics such as the types of musical forms, the basic of writing for

the drum, guitar, bass guitar, piano, brass, and saxophone. Various arrangement technique such as rhythmic

alteration/variation, melodic alteration, transposition, embellishment, syncopation, and the range of musical instruments

will be covered in this course.

References

Doezema, R. 1990. Arranging I. Boston: Berklee series publication.

Kennan, K. 1990. The Techniuqe of Orchestration. N. Jersey Prentise Hall.

Nettles, Barrie. Harmony I. Boston: Berklee series publication.

Pople, A. 1994. Theory, Analysis and Meaning in Music. Great Britian: Cambridge University Press.

Ted, Pease. 1995. Arranging for Big Band and Score Analysis. Boston: Berklee series publication.

Boras, Tom. 2005, Jazz Composition and Arranging, Belmont: Thomson Schirmer.

CM21901 AURAL TRAINING III

This course is a continuation of Aural Training II and is essential for students to improve listening skills, especially on

chords, sight reading, rhythm, intervals, scales & melody. To develop the listening skills, students are trained to recognize

rhythmic patterns, melodic shapes, harmonies, intervals, scales, and rhythms. The course also covers the recognition

harmony with the triads and seventh chords. The course also covers singing scale exercises to strengthen their ability

to recognize major, minor, diminish, and half diminish scales.

References

Benward, B. 1996 Ear Training: A Technique for Listening 4th Edition. WmC. USA: McGraw-Hill Publishing.

Benward, B. 1999. Sightsinging Complete 6th Edition. USA: McGraw-Hill Publishing.

Clark, T.S. 1992. Arrays: A Worktet of Musical Patterns for Aural Development. USA: McGraw.




Prosser, S. 2000. Essential Ear Training for the Contemporary Musician. Berklee Press.

Larry M. Workbook for Ear Training 1. Berklee College of Music.UK.




Gary H. Encyclopedia of Reading Rhythms. Hal Leonard. USA.

CM22001 AURAL TRAINING IV

This course is a continuation of Aural Training III and is an advance level of the ear training syllabus. This course teaches

students to sing with movable “do” in a wide variety of major, minor, and modal scales. Listening skills will be measured

in two ways; the ability to identify the pitch of the melody, modulation from one tonal center to the next, rhythmic

patterns, harmonic progression, melodic intervals, and scales. Secondly, the ability to write a melodic phrase in music

notation.

References

Benward, B. 1996 Ear Training: A Technique for Listening 4th Edition. WmC. USA: McGraw-Hill Publishing.

Benward, B. 1999. Sightsinging Complete 6th Edition. USA: McGraw-Hill Publishing.

Clark, T.S. 1992. Arrays: A Worktet of Musical Patterns for Aural Development. USA: McGraw.

Prosser, S. 2000. Essential Ear Training for the Contemporary Musician. Berklee Press.





Gary H. Encyclopedia of Reading Rhythms. Hal Leonard. USA.

CM22901 MODERN HARMONY I

This course is essential to strengthen the understanding and concept of modern Harmony that is currently used in popular

music, Jazz, Rock, and other genres of music making. The application of these harmonies is essential to understand how




pop and jazz chords are used and the scales that these chords or harmonies are formed. This course cover topics such

as Scales, Harmony, Rhythms, and Music Analysis.

References



Nettles, Barrie. Harmony 1. Boston: Berklee series publication.




Taylor, Eric.1989. The AB Guide to Music Theory Part 1: The Associated Board of the Royal School of Music, London.

CM23001 MODERN HARMONY II

This course is a continuation of Modern Harmony I and its aim is to provide an advanced knowledge of Modern Harmony

where it can be applied in musical performance, arranging exercises and composition. It is essential to strengthen their

understanding and concept of Harmony especially involvement of harmonic tensions, modulation from one key to the

next, altered scales, the various scale modes and chord progression.

References







Taylor, Eric.1989. The AB Guide to Music Theory Part 1: The Associated Board of the Royal School of Music, London.




CM22402 ARRANGING FOR BIG BAND

The course introduces the concepts and fundamental principles of music arranging. These will cover melodic analysis,

construction of harmony using different voicing technique, construction of rhythms, and re-harmonizing existing

harmonies. This course focuses more on arranging for Big Band, where students are required to harmonize melodies

with modern harmonies with its “available tensions.” Students are also required to do “melodic analysis”, understand

“harmonic rhythm”, “guide tone line”, “line clichés”, “modal interchange”, “related ii-7” and the “blues”. The course is

designed to equip students with various voicing techniques that are commonly used in a small to full orchestra

arrangements that includes “four (4) parts writing”, “spread voicing”, “independent lead,” “mixed soli voicing” and

countermelodies or background writing in the arrangement.

References

Doezema, R. 1990. Arranging II. Boston: Berklee series publication.

Kennan, K. 1990. The Techniuqe of Orchestration. New Jersey: Prentise Hall.





CM23301 BASIC MIDI

This course focuses on knowledge in the areas of MIDI systems, protocols, and the basics of music programming. The

spectrum of this course covers the practical theory of knowledge in music programming and MIDI technology.

Rujukan

Edstrom, Brent. 2001. Making Music with your Computer. (2nd Edition). Auburn Hills. MI

Keith, Gemmell. 2002. Get Creative with CUBASE VST; Composing and arranging with Cubase VST. PC Publishing Export

House 130 Vale Road, Tonbridge Kent TN9 1Sp UK.

Andreton, Craig. 2001. Audio Mastering. Wizoo Publishing GmbH, Bremen, Germany. Andreton, Craig. 2001. Home




Studio. Wizoo Publishing GmbH, Bremen, Germany. Steinberg.

1999. Lesson for Life. Product and Training Information.

CM22602 MUSIC PROGRAMMING

The course focuses on how to compose music from various genres using computer software. The study teaches students

the technique of producing sound using midi, audio editing and the process of producing an album.

References

Huber, DM. 1995. Hard Disk Recording for Musicians. AMSCO Publication,

NY. Mellor, D. 1992. How to setup a Home Studio. PC Publishing.

Millward, S. 1998. Fast Guide to Cubase VST. PC Publishing. Rumsey, F. 1994. MIDI System and Control.

Focal Press. Russ, M. 1996. Sound Synthesis and Sampling. Focal Press.

CM22801 MUSIC AND BUSINESS MANAGEMENT

The music industry globally, worth billions. Music Industry activities are highly complex and diverse in terms of its

implementation. Thus, it is necessary to equip individuals the knowledge of music business and its management by

involving them in the music and entertainment industry. The main objective of the course is to disseminate knowledge

of the music business adequately to the students through lecture, discussion, and analysis of business data. Students

will also be given the task of reviewing the development of the local music industry more closely through field work to

know the various organization and key individuals in the music industry and establish a networking between the students

with organizations in the music industry.

References

Attali, J. 1996. Noise: The Political Economy of Music. Univ. Of Minnesota Press. US.

Barrow and Newby. 1995. Inside the Music Business. Blueprint.

Fink M. 1996. Inside the Music Industry; Creativity, Process and Business. Schirmer Book. 1996 & 1997.

International Federation of Phonographic Industries, music, and copyright.

D, Weissmen. 1997. The Music Business: Career Opportunities and self defence. Three Rivers Press, NY.




CM32702 CONDUCTING

This course trains students to work with musicians in a group, and they must be able to convey musical intentions to

players by means of gestures. It trains students to use physical parts of the body such as the eyes, the left and right

hands as a means of communication. Students will learn how to obtain artistic results by being able to communicate

nuances in dynamics, phrasing, articulation (legato & Staccato), and general expressions. They will also learn about the

various ensembles they encounter and how to work with them.

References

Forsyth, C. 1992. Orchestration. New York: Dover Publication Inc.

Green, E. 1992. The Modern Conductor. Prentice Hall.

Jonathan, D., Arnold, W. 1990. Music Analysis in Theory and Practice. Faber and Faber.

Ted, P. 1990. Arranging for Big Band and Score Analysis. Boston: Berklee Series Publication.

Young, H. 1991. Orchestra. Chatto and Windus. Prentice Hall.

CM33302 ORCHESTRATION

Ochestration technique provides students with the various techniques for writing a full orchestra. This course will give

students a better understanding how various instruments interact with one another and the many possible combination

of sounds to create certain sound textures in the arrangment, characteristics of various instruments, range of

instruments, proper notation, and sound of special effects. Students will learn four (4) elements that are important to an

orchestration, economy, focus, variation and balance.

References

Alfred Blatter (Drexel University) – Instrumentation/Orchestration. Schirmer Books, Division of Macmillan, Inc. New York.

Don Sebesky. The Contemporary Arranger (Revised Edition). Alfred Publishing Co. Inc. Henry Mancini. Sound and Scores.

Northridge Music, Inc.

Kent Kennan, Donald Grantham -The Technique of Orchestration 3rd edition.

Nicholas Rhimsky. Principal of Orchestration. Oxford Univ. Press




CM33502 STUDIO RECORDING TECHNOLOGY APPLICATION I

This course prepares students with the knowledge and the techniques of recording audio using digital-based equipment

in the music recording industry. The students will be exposed to digital studio application such as the essential

preparations, recording audio signals, editing, and mixing. The students will learn the functions of an equalizer and sound

effects that a re commonly used during recording. Students are given the opportunity to use the recording facilities such

as the Pro Tools Digital Studios at the School of Arts to produce recording projects or assignments.

References

Cunningham, M., (1996) Good Vibration. Penguin Castle Communications. Erne, M., (1998).

Digital Audio CD Resource Pack. Focal Press.

Huber & Runstein., (1997). Modern Recording Techniques (4th Edition). Focal Press.

Nisbett, A., (1997)., The Use of Microphones (4th Edition). Focal Press.

White, P., (1996). Recording and Production Techniques for the Recording Musician. London Sanctuary.

Davis, G & Jones, R., (1990). Sound Reinforcement Handbook (2nd Edition). Hal Leonard Corporation.

Gibson, D., (1997). The Art of Mixing: A Visual Guide to Recording, Engineering, and Production. Mix Books.

CM35002 STUDIO RECORDING TECHNOLOGY APPLICATIONS II

This Studio Recording Technology Application Course is an advanced course on Studio Recording Technology Application

I in providing students with skills and mastery of digital analog music recording techniques using relevant and latest

professional music software in the music recording industry. Students are also exposed to the method of analog digital

recording with the work of mixing and 'mastering' from the beginning to the production of an album.

Rujukan

Cunningham, M. 1996. Good Vibrations. Penguin Castle Communications.

Erne, M. 1998. Digital Audio CD Resource Pack. Focal Press.

Huber & Runstein. 1997. Modern Recording Techniques 4th Edition. Focal Press.

Nisbett, A. 1994. The Use of Microphones. 4th Edition. Focal Press.

White, P. 1996. Recording and Production Techniques for the Recording Musician. London Sanctuary.




CM34102 ARRANGING FOR WIND ORCHESTRA

This course focuses on the arranging techniques for wind orchestra, mainly brass, saxophone and the woodwinds. The

students will be able to understand the relationship between the different timbre of these instruments and the practical

range for players to play. An understanding of each character of the instrument is necessary before applying it in their

music arrangement. Students are introduced to the various musical forms found in music composition. Various arranging

techniques such as rhythmic alteration, melodic alteration, transposition, embellishment, syncopation, and voicings will

be covered in th is course.

References






CM34002 AUDIO VISUAL DIGITAL TECHNOLOGY

Audio visual digital technology is a practical base course design to prepare students with the latest technology in the

audiovisual industry. Students will cover the process of recording and editing using the current market software that is

available. The course will teach students how to produce video clips or documentaries using software that are found at

the various studios at the School of Arts. Besides the musical software, students will be able to learn and used other

software such as Adobe Premiere, Digidesign ProTools LE, MacroMedia Flash dan Adobe Photoshop.

References

Fawcett, N. 1994. Multimedia. Hodder Headline.

Persidsky, A. 2000. Premiere: For Macintosh & Window. Peachpit Press.

Persidsky. A. 2000. Photoshop: For Macintosh & Window. Peachpit Press.

Sinclair, IR. 1991. Introduction to Digital Audio (2nd Edit.).

Watkinson, J. 1994. An Introduction to Digital Video. Focal Press.




CM35202 ARRANGING FOR POP ORCHESTRA

The course covers the advance techniques of music arranging especially for pop orchestra. The course also covers the

various orchestral instruments such as the brass, saxophone, strings, and rhythm section. Students are taught to write

tutti writings, concerted, voicing in seconds (clusters), voicing in fourths, upper structure triads & writing of foreground,

middle ground, and background melodies. The course also requires students to score analysis of different arrangers and

composers.

References






Felts, Randy. 2002. Reharmonization Techniques. Berklee Press. Boston, USA.

Boras, Tom. 2005. Jazz Composition and Arranging. Schirmer, USA

CM35103 PRE-GRADUATION RECITAL

Pre-Graduation Recital is a requisite for third year students’ preparation for their final recital. It involves solo performance

of pieces prepared during their fifth semester to ensure that the students, with the guidance of their lecturers, are well

prepared for their final recital at their final semester.

References

ABRSM. (1999). Scales and arpeggios for saxophone, grade 1-8.

Duro, S. (1999). Easy classic tunes, Chester Music Ltd.

Honey, P. (2000). No.1 Hits, Wise Publications

Honey, P. (1999). Swing, Wise Publications

Snidero, J. (1996). Jazz conception, Advance Music.




Long, J. (1998). Classic blues, Wise Publications Snieckowski, S. Wybor etiud na oboj, book 2

Long, J. (1999). Jazz playalong for Saxophone, Wise Publications.

Waignein, A. (2000). Concertino, De Haske Publications BV.

Blume, Jason., (1999). 6 Steps to Songwriting Success. New York; Watson-Guptill Publication.

Nettles, Barrie. Harmony I. Boston: Berklee Series Publication.




CREATIVE ARTS PROGRAMMES (UH6212002)

CA22403 PRODUCTION PROCEDURES II

The Production Procedure 2 educates students on the aspect of video and film production management which covers

pre-production aspect, production and post-production. Practically, students will be exposed to processes and procedures

of film-making such as script development and pre-visualization, budget preparation, actor selection and production

force. In filming of a film, students will be exposed to the ‘take’ technique, shot composition, sound recording and

lighting. At the post-production level, students will also be exposed to editing and visual effects.

References

Cleve, Bastian. 2005. Film Production Management, 3rd ed. Focal Press.

Gates, Richard. 2001. Production Management for Film and Video, 3rd Ed. Focal Press.

Irving, David K & Rea, Peter W. 2006. Producing and Directing the Short Film and Video, 3rd ed. Focal Press. Lyver, Des

& Swainson, Graham. 2002. Basics of Video Production, 2nd ed. Focal Press.

Whitaker, Jerry. 2002. Master Handbook of Video Production. McGraw-Hill Professional.

CA24403 TEATER, FILM AND BUSINESS

This course exposes students to the film and theater business structure which includes production, distribution and

screening. Each of these aspects will be discussed in detail in this course. The importance of studio systems and free-

filmmakers will be explained upon the discussion on production aspects. The form of distribution covers the selection of

distributors, and the payment of distribution fees will be discussed. As for the showing aspect, the government policy

such as compulsory shows and cinema issues will be discussed.

References

Bosko, Mark Steven. 2005. The Complete Independent Movie Marketing Handbook. Michael Wiese Productions.

Durie, John, Pham Annika & Watson Neil. 2000. Marketing & Selling Your Film Around the World: A Guide for Independent

Filmmakers. Silman-James Press.




Goodell, Gregory. 1998. Independent Feature Film Production: A Complete Guide from Concept Through Distribution. St.

Martin’s Press.

Litwak, Mark. 2004. Risky Business: Financing & Distributing Independent Films. Silman-James Press. Squire, Jason E.

2004. Movie Business Book 3rd ed. Simon & Shchsuter.

CA31703 THEATER AND FILM PUBLICATION TECHNOLOGY

This course is a continuation of the CA22403 Production Procedure 2 (PP2) course. As PP2 exposes students to the film

and theater production process comprehensively, this course focuses on the production process which consists of the

uses and changes of technology such as pre-visualization process, cinematography (camera), video / film and audio

editing process, visual effects, film processing and technology shows (satellite and 3D). Students will also be exposed to

new media such as web based technologies as a platform to publish publications. Through the individual producing digital

films practical, this course is expected to strengthen students' skills in the field of video or filmmaking.

References

Goodman Robert M. & McGrath, Patrick. 2002. Editing Digital Video : The Complete Creative and Technical Guide.

McGraw-Hil

Rizzo, Michael. 2005. Art Direction Handbook for Film. Focal Press.

Proferes, Nicholas. 2004. Film Directing Fundamentals: See Your Film Before Shooting, 2nd Ed. Focal Press. Wells,

Peter. 2006. Digital Camcorder Technique (Illustrated). Crowood Press, Limited.

Whitaker, Jerry. 2002. Master Handbook of Video Production. McGraw-Hill Professional.

CA30402 GRAPHIC COMMUNICATION

This course focuses on the awareness of the importance of graphics in the marketing of a product. Through the use of

the latest technology, students will learn how to market their artistic skills and their end products.

References

Ashford, G. 1990. Everyday Publicity: A Practical Guide. Law -Arts.




Newman, D. 1994. Subscribe Now! Building Arts Audience Through Dynamic Subscription Promotion. New York: Drama

Book.

Reiss, A. H. (ed.) 1993. Market the Arts! New York: FEDAPT.

Tooley, M. 1997. Computer Engineer’s Book. Butterworth-Heineman

Wolf, T. 1990. Presenting Performers. Cambridge, MA: New England Foundation for the Arts.

CA33102 MEDIA PUBLICATION MANAGEMENT

This course will expose students to the basic publishing techniques covering pre- and post-publications such as production

of print and electronic media such as video and film production. The production processes of print media such as books

and newspaper production covers editing process, spellchecking, printing and up to the print media retailed will be

discussed. Whereas in video and film production, students will be exposed to linear and non-linear techniques in

producing a short film production or commercial film.

References

Helmut Kipphan (Editor). 2001. Handbook of Print Media. Springer.

Giuseppe Cristiano. 2012. The Storyboard Artist: A Guide to Freelancing in Film, TV, and Advertising. Michael Wiese

Productions

Thomas A. William. 2002. Publish Your Own Magazine, Guide Book, or Weekly Newspaper: How to Start, Manage, and

Profit from a Homebased Publishing Company. Sentient Publications

Mamer, Bruce. (2000) Film Production Technique: Creating The Accomplished Image. USA: Wadsworth/Thomson

Learning. Sandra Moriarty. 2011. Advertising & IMC: Principles and Practice, 9th Edition. Prentice Hall

CA30802 WORK AND COPYRIGHT

This course introduces students to the law of copyright and law in applied field. In addition, this course will also focus

on to the legal principles of print and electronic media publishing, the rights of prohibition of publication. Discussion of

this course will also use some current issues such as piracy and plagiarism as well as its impact on existing laws.




References

Frough, William. 1991. Screen Writing Tricks of the Trade. London: Silman James. Gleen, Ethel C.

1997. Strategic Newspaper Management. New York: Allyn Bacon.9

Related Act:

1. Akta A1420 Akta Hak Cipta (Pindaan) 2012

2. Akta A1485 Akta Hasutan (Pindaan) 2015

3. Akta A1436 Akta Mesin Cetak dan Penerbitan (Pindaan) 2012

4. Akta 815 Akta Cap Dagangan 2019.

5. Akta 606 Akta Cakera Optik 2000

6. Akta 617 Perbadanan Harta Intelek 2002

CA32703 NOVEL WRITING

As an introduction to novel writing, students will be taught regarding definition, history, and development of novel in

Malaysia. Aesthetic concepts and various novel writing techniques will be exposed to students. In addition to that, various

literary theories in relation to novel writing will be taught to the students.

References

DiYanni, Robert. 2001. Fiction: An Introduction. Singapore: McGraw Hill.

Jefferson, Ann dan Robey, David (ed.). 1988. Teori Kesusasteraan Moden: Pengenalan Secara Perbandingan (Terj.

Mokhtar

Ahmad). Kuala Lumpur: Dewan Bahasa dan Pustaka.

Rahman Shaari. 1993. Memahami Gaya Bahasa. Kuala Lumpur: Dewan Bahasa & Pustaka.

Scholes, Robert and Kellogg, Robert. 1966. The Nature of Narrative. London, Oxford, New York: Oxford University Press.

Wellek, Rene dan Warren, Austin. 1988. Teori Kesusasteraan (Terj. Wong Seng Tong). Kuala Lumpur: Dewan Bahasa &

Pustaka.

CA32202 ACADEMIC WRITING

This course teaches students on matters regarding writing proposal and thesis. Among the focus are format and forms

of academic writing, including the whole thesis writing process – from the stage of writing the draft to the stage of

completing the thesis.




References

Bernard, H.R. and Ryan, G.W. 2007. Analyzing Qualitative Data: Systematic Approaches. London: Sage. Chris, H. 1998.

Doing a Literature Review. London: Sage.

E.R. Kjell. 1992. Surviving your Dissertation: A Comprehensive Guide. London: Sage. Harrop, J. 1991.

Writing and Editing. New York: Allyn & Bacon.

Ingalls, A & Moody, D. 1997. Within Reach: A Guide to Successful Writing. New York: Allyn & Bacon. Salkind, N.J. 2009.

Exploring Research. New Jersey: Pearson Education Inc

CA20302 PENULISAN MEDIA

Kursus ini menumpukan kepada kepentingan imej visual dan suara dalam penulisan media; juga membincangkan ciri-

ciri penulisan yang baik untuk media penyiaran media (tv dan radio). Pelajar diperkenalkan teori-teori berkaitan dengan

media massa dan masyarakat sebelum didedahkan secara langsung dengan penulisan media.Di samping itu

mereka diberi peluang menilai dan membuat perbandingan format penulisan media antarabangsa.

Rujukan

Epstein, E.J.1975. Between Fact and Fiction: The Problem of Journalism. New York: Vintage Books. Gerald, Millerson.

(1995). (12th.Ed): The Technique of Television Production. London: Hartnolls Ltd. Hulteng, J.L. 1979. The News media:

What Makes Them Tick? Englewood Cliffs, NJ: Prentice Hall.

Mamer, Bruce. (2000). (2nd.ed) Film Production Technique: Creating the Accomplished Image. USA: Wadsworth. Merrill,

J.G.

1994. The Imperative of Freedom. New York: Freedom House. Writing and Editing. New York: Allyn & Bacon.

Ingalls, A & Moody, D. 1997. Within Reach: A Guide to Successful Writing. New York: Allyn & Bacon. Salkind, N.J. 2009.

Exploring Research. New Jersey: Pearson Education Inc.

CA10502 HISTORY OF DANCE

This course introduces students to the history and theories of dance art in Asia. With this knowledge students are able

to understand the process of creation and the source of the various dance that will assist them in reinforcing their

performance.




References

Agus Tasman, 2006. Analisa Gerak dan Karakter: Surakarta: Sekolah Tinggi Seni Indonesia (STSI).

Margaret N. H Doubler, 2005. “Dance”: USA: University of Wincorsin Press Medison.

Soedarsono, 2000. Notasi Laban. Proyek Kesenian Direktorat Pembina Kesenian Ditijen Kebudayaan. Jakarta:

Pepartemen Pendidikan dan Kebudayaan.

CA23103 COMPOSITION AND CHOREOGRAPHY

This course allows students to learn about the key elements of producing good staging - from the use of space by

dancers, music and dance scores to the use of stage and technical tools. The combination of composition and

choreography will produce a dynamic and balanced visual staging. Students' theoretical knowledge will be strengthened

through practical training.

References

Cheney, G. 1989. Basic Concepts in Modern Dance: A Creative Approach (3rd ed.). Princeton Book Co Pub. Franklin, E.N.

Dance Imagery for Technique and Performance. 2005. Human Kinetics (T). Franklin, E.N. 1997. Dynamic Alignment

Through Imagery. Human Kinetics (T).

Howse, J. & McCormack, M. 2000. Dance Technique and Injury Prevention (3rd ed.). Theatre Arts Books.

Todd, M.E. 2006. The Thinking Body: A Study of the Balancing Forces of Dynamic Man. Princeton Book Co Pub.

CA21202 DANCE ART TECHNIQUES II

This course is a continuation of the dance art techniques (i) course which provides exposure to more complex motion

techniques. The focus of learning is on the basic concepts of presentation techniques such as kinesthetic awareness,

concentration / focus, fluidity in movement transitions, clarity of ryhthmic acuity, spatial intent, full exploration of energy

fluctuation and link of inner intent to outer expression for complex movement techniques. In addition, students will also

look at the aspects of alignment, strength and flexibility of one's body. Students also have the opportunity to explore

spaces controlled by different dynamics and rhythms and to form appropriate phrases.




References

Cheney, G. 1989. Basic Concepts in Modern Dance: A Creative Approach (3rd ed.). Princeton Book Co Pub. Franklin, E.N.

Dance Imagery for Technique and Performance. 2005. Human Kinetics (T). Franklin, E.N. 1997. Dynamic Alignment

Through Imagery. Human Kinetics (T).

Howse, J. & McCormack, M. 2000. Dance Technique and Injury Prevention (3rd ed.). Theatre Arts Books.

Todd, M.E. 2006. The Thinking Body: A Study of the Balancing Forces of Dynamic Man. Princeton Book Co Pub.

CA21802 DANCE EDUCATION

This course demonstrates the role of practical knowledge in dance. Will be discussed is the epistemological approach,

experience and social structuring of a knowledge, especially in dance education and training.

References

Azman Rahman Aroff & Zakaria Kasa. (2002). Falsafah dan Konsep Pendidikan (Edisi Kedua). Shah Alam: Fajar Bakti

Sdn.Bhd.

Bressen, E.S. & Woollacott, M.H. (2004). A Prescriptive Paradigm For Sequencing Instruction in Physical Education.

Human

Movement Science. 1. Holand: North Holland Publishing Company.

Gough, Mari on. (1999). Knowing Dance: A Guide for Creative Teaching. London: Cecil Court.

Salmah Ayob. (2005). Pergerakan Kreatif dan Pendidikan. Petaling Jaya: Flo Enterprise Sdn. Bhd.Istilah Pendidikan. Kuala

Lumpur: Dewan Bahasa & Pustaka.

CA30903 DANCE ETHNOLOGY

This course introduces and focuses on the understanding and understanding of dance culture in its entirety. By touching

on various disciplines such as sociology and anthropology, musicology, dance, folklore and so on, he hopes to help

students understand what dance is all about in the context of human behavior.

References

Cerron i-Long, E.L. (ed) (2002). Anthropological Theory in North America. London: Bergin & Garvey. Ely, Margotet.al.

(1991). Doing Qualitative Research: Circles Within Circles. London: Falmer Press. Gaillard, Gerald,. (2003). The Routledge




Dictionary of Anthropologists. New York: Routledge. Gingrich, Andre and Fox, Richard G. (2002). Anthropology, by

Comparison. London: Routledge.

Peregrine, Peter N. (1996). Ethnology Versus Ethnographic Analogy: A Common Confusion in Archaeological

Interpretation. Cross-Cultural Research. Vol 30.8

CA33702 DANCE ANALYSIS

This course focuses on ways to analyze an art performance, especially dance performance in terms of performance form,

performance pattern, movement technique, performance environment, performance uniqueness, performance

weaknesses, aesthetic values and disciplines associated in performance. This course allows students to follow the process

of delivering critical but constructive output in the context of writing about performing arts. Case study methods are used

to achieve a satisfactory level of learning.

References

Limputtong, P. and Ezzy, D. 2005. Qualitative Research Methods. Hongkong: Oxford University Press.

Agus Tasman, 2002. Analisa Gerak dan Karakter: Surakarta: Sekolah Tinggi Seni Indonesia (STSI).

Soedarsono, 1978. Pengantar Pengetahuan Dan Komposisi Tari: Yogyakarta: Akademi Seni Tari Indonesia.

Soedarsono, Komposisi Tari Elemen-Elemen dasar. 2003. Yogyakarta: Akademi Seni Tari Indonesia.

CA34302 EARLY PROJECT

This course exposes students to the process of preparing proposal papers for performing arts for dance and theater arts

modules. Students are exposed to create and study scripts / scripts and dance concepts that will be presented in the

form of power point presentations. Students will undergo two presentations to refine / strengthen the proposal paper to

be brought to the final project as a presentation work to be implemented in semester 6.

References

Soedarsono,1978. Pengantar Pengetahuan Dan Komposisi Tari. Yogyakarta: Akademi Seni Tari Indonesia. Margaret

N.H’Doubler, 1989. Dance A Creative Art Experience. USA: University Of Winconsin Press Medison.




Judith Lynne Hanna Dance, 1988. Sex and Gender Sign Of Identity Dominance, Defiance And Desire. Chicago: University

Of Chicago Press.

La Meri oleh Soedarsono, 1975. Komposisi Tari Elemen-Elemen dasar. Yogyakarta: Akademi Seni Tari Indonesia. Umar

Kayam, 1981. Seni, Tradisi, Masyarakat: Sinar Harapan.

Rustopo, 1991. Gendhon Humardani Pemikiran dan Kritiknya. Surakarta: STSI-Press.

Deddy Mulyana, 1990. Komunikasi Antarabudaya. Bandung: PT. remaja Rosdakarya Bandung.

CA32802 NOTATION DANCE

This course reveals a special writing system that records movement vocabulary in the form of scores or movement

graphs. Students will be taught how to make motion notations for a dance performance which will be used as a reference

and manuscript for the production of the second performance.

References

Ann Hutchinson. 2008. Labanotation or Kinetography Laban The System of Analyzing and Recording Movement. Revised

and Expanded third edition. New York: Theatre Arts Books.

Ann Hutchinson. 2005. Labanotation or Kinetography Laban The System of Analyzing and Recording Movement. Revised

and Expanded second edition. New York: Theatre Arts Books.

Joko Aswoyo. 1993. Notasi Laban Kajian Dan Penerapan Dalam Tari Tradisi Jawa. STSI Surakarta

Soedarso no., 1978-1979. Notasi Laban. Proyek Kesenian Direktorat. Jakarta: Pembina Kesenian Dirjen

Kebudayaan Departemen Pendidikan dan Kebudayaan

CA10603 BASIC ACTING

CA10603 Basic Acting This course is a basic acting course that focuses on the history of the development of acting art

and an introduction to an actor's self-preparation techniques. Students will be exposed theoretically and practically on

the basis of existing acting theory. This exposure is to enable students to make initial preparations before they focus in

the theater module and learn in depth about specific acting techniques.

References

Cassady, M. 1988. Acting; Step by Step. California. Resource Publications.




Hapgood, Elizabeth R. 1986. Constantin Stanislavski; An Actor Prepares. Great Britain. Methuen Drama. Berry, C. 1993.

Voice and the Actor. Great Britain. Virgin Books.

Scher Anna & Verrall,C. 1975. 100 + Ideas for Drama. Great Britain. Heinemann. Barkworth, P. 1991.

The Complete About Acting. USA. Metheun Drama.

Barker, C. 1995. Theatre Games. England. Methuen Drama.

Boal A. 1992. Games For Actors and Non-Actors. London. Routledge.

CA21702 PRODUCTION PROSEDUR I

This course focuses on the administrative management aspect in a theatrical production. Students majoring in the theater

component are required to participate in this field in addition to the other theater courses offered.

References

Parker, W.O. 2003. Scene Design and Stage Lighting. USA. Wadsworth/Thompson Learning. Brockett, Oscar G.

1999.The Essential Theatre, Florida. Harcourt Brace & Company.

Menear Pauline & Hawkins, T. 1988, Stage Management and Theatre Administration. Oxford. Phaidon Press Limited.

Huxley

Michael & Witts, N. 1996. The Twentieth-Century Performance Reader. London. Routledge. Allain Paul & Harvie, J. 2006.

Theatre and Performance. London. Routledge.

CA21903 ACTING TECHNIQUE I

This course is an extension of the CA1122 Basics Course. Students will learn more about Stanislavski's modern play

technique known as the Play System. Apart from learning the theory and ethics of acting, character and character studies

and body preparation techniques in more depth, students are also asked to apply the techniques learned to the stage

based on the scenarios and theater scripts selected / determined.

References

Sohaimi Abdul Aziz 2003. Noordin Hassan; Anak Tanjung Pejuang Seni. Penerbit Universiti Sains Malaysia. Pulau Pinang.

Cassady, M. 1988. Acting; Step by Step. Resource Publications. California.




Brockett, Oscar G. 1999.The Essential Theatre, Belmont, CA. Wadsworth.

Schutzman Mady & Cohen-Cruz, J. 2003. Playing Boal; Theatre Therapy, Activism.Routledge, London. Babbage, F. 2004.

Augusto Boal. Routledge. London

CA 22603 ACTING TECHNIQUE II

This course is an extension of the CA21903 Skills of acting course . Students will focus on improvisational technique. The

multifaceted approach to improvisation using creative and spontaneous methods is ideal for applying to children's theater

performances. Students will be exposed for 14 weeks to the history of the emergence of improvisation techniques related

to Commedia del arte, body preparation, expression and gestures, up to performances based on selected / determined

theater scripts.

References

Samad Said. 1992. Lazri Meon. Dewan bahasa dan Pustaka, Kuala Lumpur. Cassady, M. 1988.

Acting; Step by Step. Resource Publications. California.

Hapgood, Elizabeth R. 1986. Constantin Stanislavski; An Actor Prepares. Methuen Drama, Great Britain. Berry, C. 1993.

Voice and the Actor. Virgin Books, Great Britain.

Mohammad Shahidan, 1997, Koleksi Terpilih Cerita Rakyat Malaysia.

CA34503 DIRECTORY I

This course will focus on the history of the emergence of directors, the authority, features and essentials of every theater

director. Directional theories by world theater activists such as Stanislavski, Grotowski Brecht and Robert William will be

the basis of discussion and practice. Students will also apply the theory of instruction learned by producing a theatrical

performance.

References

Andika Aziz Hussin, 2008. Prosedur Pengurusan Produksi Teater. UMS, Sabah.

Rodgers, James W. 1995. Play Director’s Survival Kit. The Centre for Applied Research in Education. New York. Catron,




Louis E. 1989. The Director Vision. Mayfield Publishing Company. Mountain View, CA.

Brockett, Oscar G. 1999. The Essential Theatre, Belmont, Wadsworth, CA.

Menear Pauline & Hawkins, T.1988, Stage Management and Theatre Administration. Oxford. Phaidon Press Limited.

CA33902 TECHNICAL THEATER

This course will expose students to the importance of visual elements, especially the arrangement of light and sound in

a theatrical performance. Students will be exposed to the role of light and sound arrangement. Students will learn theory

and practice about each part as well as the role played by each part.

References

Parker W.O.2003. Scene Design and Stage Lighting.USA. Wadsworth/Thompson Learning.

J.Micheal Gillette.1999.Theatrical Design and Production.4th Edition. Mayfield Publishing Company. Mountain View, CA.

Mc

Candless,S.1958. A Method of Lighting the Stage.Theatre Art Books. New York.

Menear Pauline & Hawkins, T.1988, Stage Management and Theatre Administration.Phaidon Press Limited. Oxford. Kaye,

Deena & Lebrecht,J.1992. Sound and Music for the Theatre. Back Stage Books. New York.

CA23602 PENULISAN RETORIK

This course introduces students to the history of the europian classical theatre developments and its influences

throughout the world up to Malaysia. This course is divided into two parts, namely the historical development of Western

theaters and the history of the Malaysia theatres development. Students are also exposed to traditional theater forms

and modern theater forms in Malaysia.

References

Schecner, R. 2003. Performance Studies. London. Routledge.

Mohd Taib Osman. 1987. Kajian Budaya dan Masyarakat di Malaysia. Kuala Lumpur. Dewan Bahasa dan Pustaka. Rahmah

Bujang. 1994. Drama Melayu; Dari Skrip ke Pentas. Kuala Lumpur. Dewan Bahasa dan Pustaka.




Mana Sikana. 2006. Drama Melayu Tradisional, Moden dan Pasca Moden. Kuala Lumpur. Dewan Bahasa dan Pustaka.

Solehah Ishak. 1990. Pengalaman Menonton Teater. Kuala Lumpur. Dewan Bahasa dan Pustaka. Carlson, M. 1996.

Performance. London. Routledge

CA22202 TEATER EDUCATION

This course will expose students to the introduction of theatrical elements in education- spesifically in the teaching and

learning process both formally and informally. The different learning process from the conventional techniques that use

only pens and paper. Students will understand the history, development of TIE, issues and elements in TIE. Students

will be trained to apply these elements and produce a play to be presented to the audience. The success of the project

will be assessed through the reaction and involvement of the audience, especially the children.

References

Davis, Jed H. & Evans, Mary Jane, (1982), Theatre, Children and Youth, USA: Anchorage Press.

McCaslin, Nellie, (1971), Theatre for Children in the United States: A History, USA: University Of Oklahoma. Fiske, Pat S.

& Spealy, James L., (nd), Curtain Calls: Puppetry for Seniors, Austin Texas: University of Texas

CA31603 STAGE SINOGRAPHY

This course will expose students to the process of making the artistic elements in a theatre performances, the importance

of each visual, kinetic and auditory elements present in a stage performances as well as its impact on the audience.

Students will be specifically exposed to how to make an artistic aspect synthesizes from a manuscript. Through this

course students will also be asked to watch some form of theater and they will need to make academic reviews of the

visual, kinetic and auditory aspects of the staging.

References

Brockett, Oscar G. 1999. The Essential Theatre, Belmont, CA. Wadsworth.

Catron, Louis E. 1989. The Director’s Vision. Mayfield Publishing Company. Mountain View, CA.

J.Michael Gillette. 1999. Theatrical Design and Production. 4th edition. Mayfield Publishing Company. Mountain View, CA.




Kaye, Deena & Lebrecht, J. 1992. Sound and Music for the Theatre. Back Stage Books. New York.

McCandless,S. 1958. A method of Lighting the Stage. Theatre Arts Books. New York.

Menear Pauline & Hawkins, T. 1988, Stage Management and Theatre Administration. Phaidon Press Limited. Oxford.

Parker, W.O. 2003. Scene Design and Stage Lighting. USA. Wadsworth/Thompson Learning.

CA33003 DIRECTORY II

This course is a continuation of the CA22803 Directing I course. At this stage students will delve into the theories they

have previously learned in practice. Students will be trained to identify and overcome problems in groups. Assessment

of the self-development stages will be seen through the weekly assessment of the production work process performed.

References

Andika Aziz Hussin, 2008. Prosedur Pengurusan Produksi Teater. UMS, Sabah.

Catron, Louis E. 1989. Play Director’s Vision. Mayfield Publishing Campany. Mountain View,CA.

Dean, Alexander. (1974). 3rd edition. Fundamentals of Play Directing. New York: Holt, Rinehart & Winston. Inc. Hodge,

Francis. (1994). 4th edition. Play Drama: Analysis, Communication and Style. New Jersey: Prentice Hall. Rodgers, James

W. (1995). Play Director’s Survival Kit. New York: The Centre for Applied Research in Education.

CA10103 HISTORY OF MALAY LITERATURE

The historical development of the Malay literature will be the focus of this course. Three main stages of the history of

Malay literature in Malaysia will be discussed; starting from the period of oral tradition (folk-literature), the period of

Malay court literature (classical Malay literature) to the period of new literary genre, like poem, short story and novel

being introduced to the Malay world.

References

Ali Ahmad, Siti Hajar Che Man & Jelani Harun. 2005. Tasawwur Islam dalam Kesusasteraan Melayu Tradisional. Pulau

Pinang: Penerbit Universiti Sains Malaysia.

Li Chuan Siu. 1981. Ikhtisar Sejarah Pergerakan dan Kesusasteraan Melayu Moden: 1945-1965. Kuala Lumpur: Dewan

Bahasa dan Pustaka.




Safian Hussain , Mohd. Thani Ahmad dan Johan Jaafar (penye.). 2006. Sejarah Kesusasteraan Melayu . Kuala Lumpur:

Dewan Bahasa dan Pustaka.

Siti Hawa Hj Salleh. 1997. Kesusasteraan Melayu Abad kesembilan Belas. Kuala Lumpur: Dewan Bahasa dan Pustaka.

Winstedt, R.O. 1972. A History of Classical Malay Literature. Kuala Lumpur: Oxford University Press.

CA20203 SCRIPT WRITING

This practical based course need the students to produce film script for either short movie, telemovie, fictional movie

and documentary. Students will be exposed to the creative process and scriptwriting format. Script elements such as

story concept and structure, conflict, character development and dialogue also will be discussed. To strengthen the

scriptwriting process, several of films will be screened and discussed by the students.

References

Seger, Linda. 2003. Advance Screenwriting. Silman James Press.

Krevolin, Richard. 2003. How to Adapt Anything into a Screenplay. John Wiley & Son. Miller, William. 1998.

Screenwriting for film and television. Allyn & Bacon.

Cole & Haag. 1999. The complete guide to standard script formats. 11th ed. CMC publishing. Froug, William. Zen and

the art of screenwriting. 1996. Silman-James Press.

CA22703 CREATIVE INDUSTRY MANAGEMENT

This course aims to expose the students to the various creative industries that exist within and outside the country. The

exposure will allow the students to choose and decide on the genre within creative industries which they wish to pursue

further in their preparation for the final project. Lectures will cover the structure of organization of both government and

private bodies in creative industries especially in the field of publishing, film, television, animation, fashion, advertisement,

digital printing, book publication etc. Among other areas that will be included are the fundamental policies that govern

the creative industries.




References

Brown, Paul B. 2004. Publishing Confidential: The Insider's Guide to What It Really Takes to Land a Nonfiction Book

Deal.

US: AMACOM.

Bilton, Chris. 200. Management and Creativity: From Creative Industries to Creative Management.

Australia : Wiley-Blackwell.

Mathieu, Chris. 2011. Careers in Creative Industries. US: Routledge.

Gordon Torr. 2008. Managing Creative People: Lessons in Leadership for the Ideas Economy. UK: Wiley & Sons. Caves,

Richard E.2002. Creative Industries: Contracts between Art and Commerce. US. Harvard University Press.

CA31003 MARKETING WORK

This course will expose students to the marketing concept which includes the concept of consumer behavior, purchase

decision-making process and marketing mix (4P). Discussion on marketing strategies using marketing mix (4p’s) namely,

product, price, place and promotion will be discuss in detail. Students will also be exposed to forms of business and

product marketing. To ensure that the students understand the concept of marketing, they are also required to produce

the end product which has to do with the field of the arts.

References

1. Armstrong, Gary & Kotler, Philip. 2005. Marketing : an introduction (international edition). Ed ke 5. Prentice-Hall.

2. Clow, Kenneth E & Baack, David. 2002. Integrated advertising, promotion & Marketing communication. Prentice

Hall.

3. Crawford, Merle & Benedetto Anthony Di. 2003. New products management. 7th ed. McGraw Hill.

4. Dibb, Sally et. al. 2006. Marketing: concepts and strategies. Houghton Mifflin.

5. Hooley, Graham et.al. 2008. Marketing strategy and competitive positioning. Ed. Ke-4. Prentice Hall.




VISUAL ARTS TECHNOLOGY PROGRAM (UH6210001)

CV10102 VISUAL ARTS TEXT ANALYSIS

This course exposes students to issues related to the essence of an object in the field of visual arts. Students are given

practical understanding to appreciate a design based on some theories of appreciation. Identify elements that can be

associated with visual art texts through exploration of observations and relate visible symbolic images to the environment.

The form and the essence of the work successfully explored and translated through experience, understanding and

knowledge of art history. The basic assessment methodology is through the aspects of description, formal analysis,

interpretation and hypothesis. At the end of the course, students create an appreciation of the work of two and three-

dimensional systematically.

Reference

Dondis, D.A., (1995). A Primer of Visual Literacy (14th. edit). USA: MIT Press. Feldman, E.B., 1994. Varieties of Visual

Experience (3rd). New York: Prentice Hall. Lester, P.M. (1995). Visual Communication: Images With Messages. USA:

Wadsworth Publishing Company. Arnheim, R. (1969). Art and Visual Perception. Berkeley & Los Angeles: University of

California Press.Bruce, V. & R.Green, P. 1992. Visual Perception, Physiology, Psychlogy and Ecology (2ed.).United

Kingdom: Lawrence Erlbaum Associates Ltd. W. Richard (2015). Art and its Objects (2ed.). United Kingdom: Cambridge

University Press.

CV10302 VISUAL LITERACY I

Visual literacy introduces analytical the language of visuals that include the basics of design art, design principles and

design structure. Research is practically focused on design basics using the skills of processing and understanding the

elements of color, lines, texture, space, form and shape in the production of two- and three-dimensional artworks. This

artistic process enhances maximum creativity and understanding in the production of works. The basic knowledge of

design, design principles and structure can enhance the understanding of work ethic through the exploitation of media

creatively and innovatively.




Reference

Arnheim, R. 1969. Visual Thinking. Berkeley: University of California Press. Colin Ware. 2008. Visual Thinking for Design.

Burlington, Massachusetts: Morgan Kaufmann. Goodman, N. 1976. Languages of Art: An approach to a Theory of

Symbols. Indianapolis: Hackett.Lois Fichner-Rathus. 2014. Foundations of Art and Design. Boston: Cengage Learning.

Nateman, D.S. 1994. Introduction to Art. USA: McGraw-Hill. Joshua Field. 2018. An Illustrated Field Guide to the

Elements and Principles of Art + Design. Morrisville: Lulu.com. Jane Davies. 2017. Abstract Painting: The Elements of

Visual Language. UK: Jane Davies Publications.

CV10502 BASIC DRAWING I

This course introduces to basic drawing, equipment and materials. Students draw basic geometric and organic shapes

by focusing on the existence of light based on nature. Students are given skills in using the equipment, understanding

basic drawing techniques, exploiting media / dry materials, understanding of lines, tonals, threads, spaces, shapes,

shapes and structure of objects. Students are also introduced to the function of space through perspective lines and

vanishing points with learning methods outside the studio. At the end of the course, students will produce drawings

based on natural and natural resources.

Reference

Albert, G., Wolf, R. 1991. Basic Drawing Techniques. Cincinnati, Ohio: North Light Books. Betti, C., & Sale, T. 1997.

Drawing A Contemporary Approach. USA: Harcourt Brace College Pub. Bowen, R. 1992. Drawing Master Class. London:

Leopard Books. Jenny Rodwell. 1989. Drawing, USA: Hamlyn.Smolucha, L. 1996. The Visual Art Companion, New Jersey

Prentice Hall. Florian Afflerbach. 2014. Basics Freehand Drawing. Birkhauser, Basel, Switzerland: Bert Bielefeld.2018.

Basics Detail Drawing, Birkhauser, Basel, Switzerland: Alain Picard. 2016. Beginning Drawing: A multidimensional

approach to learning the art of basic drawing. Walter Foster Publishing, Laguna Hills, CA, United States.

CV10702 ARTS HISTORY & AESTHETIC I

This course provides theoretical and aesthetic knowledge of the development of the history of painting in the West from

the Renaissance to the present, the philosophy of Chinese painting, Indian Sculpture and Islamic architecture. Knowledge

of western art style and eastern art philosophy is revealed through examples of works in the form of paintings, sculptures

and art objects that exist in his era.




Reference

Jonathan, Lawrence. ( 2017). Gardner’s Art Through the Ages. The Western Perspective. USA: Cengage Learning Art.

Kuo Hsi. (1935). An Essay on Landscape Painting (translate by Shio Sakanishi). London: Murray. (70 pgs.) Merchant,

Vasant V. (2003). Siva-Nataraja: The Lord of the Dance, Drama and Music Siva-The Cosmic Dancer, Transformer,

Liberator. Contributors Journal article by; International Journal of Humanities and Peace, Vol. 19.(1). Rowland, Benjamin.

(1953). The Art and Architecture of India: Buddhist, Hindu, Jain. London: Penguin Books. (292 pgs.). Sherman E. Lee.

(1962). Chinese Landscape Painting. Cleveland: Cleveland Museum of Art.(160 pgs.) Seyyed Hossein Nasr. (1997).

Islamic Spirituality: Manifestations (editor). New York: Crossroad Herder.(548 pages). Tansey, R.G. & Kleiner, F.S.

(1996). Art Through The Ages. USA: Harcourt Brace & Company.

CV10902 DIGITAL GRAPHIC PHOTO PRODUCTION I

This course provides basic understanding, principles, concepts and skills on digital graphic publishing through the use of

computer graphics software. Students learn about the history, characters, functions of the typograpy. In terms of skills

in creating, planning, developing and making a design. Skills in drawing, interpreting, choosing colors, letters and layouts.

Students will be using Adobe Photoshop and Adobe Illustrator software to produce artworks.

Reference

Alan & Isabella. 1994. Encyclopaedia Graphic design + Designer. New York: Thames and Hudson. Hollis, R. 1997. Graphic

Design A Concise History. London: Thames and Hudsan Ltd. Marcelle Lapow Toor. 1994. Graphic Design an the Desktop.

Cornell University.Thomson Publishing Naisbitt, John. 1999. High Tech High Touch. London: Nicholas Brealy Publishing

House Lmt. Velthoven, William. 1996. Multi-Media Graphics. London: Thame & Hudson Ltd. Dr. Muhammad Yaumi. 2017.

Prinsip-Prinsip Desain Pembelajaran. Kencana, Jakarta. David Dabner & Sandra Stewart 2017. Graphic Design School.

Thames & Hudson Ltd, London, United Kingdom.

CV10202 LITERACY VISUAL II

Students are exposed with the principles of design and structures, tto understand the concept of object production

through organized artistic methods and processes. Mastery and understanding of the elements of art, design principles

and design structures can effectively increase the potential to work ethically through the exploitation of creative and




innovative media. Learning specifically to design principles through exploitation, media diversity and techniques help and

improve students' abilities in the context of producing a design.

Reference

Arnheim, R. 1974. Art and Visual Perception. Berkeley & Los Angeles: University of Californian Press. Capon, R.

1995.Drawing Techniques. Morlborough: Crowood Press. Dodson, B. 1995. Key to Drawing. Cincinnati, Ohio: North Light

Books. Mataznan. S. 1995. Drawing Nature. Cincinnati, Ohio: North Light Books. Turner, J.R. 1995. Drawing with

Confidence. New York: Van Norstrand Reinhold.Denman Waldo Ross. 2018. A Theory of Pure Design: Harmony, Balance,

Rhythm. Wyoming (US): Creative Media Partners, LLC.Jane Davies. 2017. Abstract Painting: The Elements of Visual

Language. UK: Jane Davies Publications.

CV11002 BASIC DRAWING II

This course is an extension of the Basic Drawing (I) course. Students are exposed to a more detailed study emphasizing

the basic elements of drawing using various techniques and materials / media exploits on an object. Some real models

in the studio are studied with emphasis on analytical studies on anatomy, rate of appeal, perspective, shape and space.

Exploitation of mixed media in a composition enhances high interactive skills and creativity.

Reference

Betti, C., & Sale, T. 1997. Drawing A Contemporary Approach. USA: Harcourt Brace College Pub. Bowen, R. 1992.

Drawing Master Class. London: Leopard Books Dodson, B. 1995. Key to Drawing. Cincinnati, Ohio: North Light Books.

Mataznan, S. 1995. Drawing Nature. Cincinnati, Ohio: North Light Books.Turner, J.R. 1995. Drawing with Confidence.

New York: Van Norstrand Reinhold. Powell, W.F. 2020. Drawing Landscapes: Learn to draw Outdoor Scenes Step by

Step. Walter Foster Publishing

CV10602 DIGITAL GRAPHIC PRODUCTION II

This course provides students with an understanding and skills in photography and image editing in graphic design

through screen display. Students explore basic photography skills in terms of techniques, methods and concepts of

producing graphic artwork. Students are given exposure to the publication of e-books aimed at documenting works in

addition to sketches in the folio.




Reference

Pariah S. Burke. 2015. The Business of ePublishing 2015. CreateSpace Independent Publishing Platform; 1 edition. The

Photoshop Elements 2020 Book for Digital Photographers. 2020. Pearson Education. DK. 2016. Digital Photography

Complete Course : Learn Everything You Need to Know in 20 Weeks. DK Publishing Dorling Kindersley. Chris Gatcum.

2016. The Beginner's Photography Guide: The Ultimate Step-By-Step Manual for Getting the Most from Your Digital

Camera. DK Publishing Dorling Kindersley. Arntson, A.E. 1998. Graphic Design Basic. USA: Harcourt Brace College Pub.

Cotton, Bob. 1993. Understanding Hypermedia – From Multimedia to Vitural. Reality. London: Phaidon Press Ltd. Naisbitt,

John. 1999. High Tech High Touch. London: Nicholas Brealy Publishing House Lmt. Popper, Frank. 1993. Art in the

Electronic Age, Thames & Hudson. Ltd. London Velthoven, William. 1996. Multi-Media Graphics. London: Thame &

Hudson Ltd.

CV10802 CONCEPT AND CONTEXT IN DRAWING

This course trains students' visual observations contextually and textually from an object. Image observation from visible

space is processed directly through the retina of the eye which stimulates the mind to interpret critically. Digestion of

this image is then translated onto the surface of the paper. The production of sequential image translation through

analytical observation process can explain the concept of drawing / sketch that meets the objectives of the Artistic

Process. At the end of the course, students can fully translate the sketch of the artistic process as a result of critical

observation of the object / subject in focus.

Reference

Bruce, V. & R.Green, P. 1992. Visual Perception, Physiology, Psychlogy and Ecology (2ed.).United Kingdom: Lawrence

Erlbaum Associates Ltd. Dondis, D.A., (1995). A Primer of Visual Literacy (14th. edit). USA: MIT Press.Mannoni, L.,

Nekes, W. & Warner, M. (eds). 2004. Eyes, Lies and Illusions. The Art of Deception. Ashgate Publishing Limited.Pye, M.

(1987).Jil, Helen., (2017). Collactive and Collaborative Drawing in Contemporary practice: Drawing Conversations. New

Castle Upon Tyne, United Kingdom: Cambridge Scholars Publishing. Whose Art Is It Anyway?. New York:

Connoisseur.Zelansky,P & Pat Fisher, M. (2002). The Art of Seeing (5th ed). New Jersey: Prentice Hall.




CV22802 PAINTING

This course exposes students to techniques and media in the production of paintings. Students are exposed to the

process, concepts and flow of paintings. Students will also study colors, study the effects of light on surfaces, perform

color mixing experiments and find new techniques. Students experiment with mediums that becomes the media in

paintings such as watercolors, oil paints, acrylics, poster paints, tempera paints and mixed media. At the end of the

course, students will produce works that fulfill the concepts and disciplines in the production of paintings.

Reference

Dondis, D.A., 1995. A Primer of Visual Literacy (14th. edit). USA: MIT Press. Hunter, S. & Jacobus, J. 1992. Modern Art.

USA: Prentice Hall Lester, P.M. 1995. Visual Communication: Images With Messages. USA: Wadsworth Publishing

Company. Rosalind Kagen, 2000. Art Talk, McGraw-Hill Smolucha. L. 1996.The Visual Art Companion. New Jersey Prentice

Hall. Powell, W.F. 2020. Drawing Landscapes: Learn to draw Outdoor Scenes Step by Step. Walter Foster Publishing

CV21302 BASIC 2D ANIMATION

This course exposes students to the basics in the production of two-dimensional (2D) animation works. This course

focuses on the elements and principles of animation such as 12 principles of animation, character formation, movement

and time. Students are also exposed to the stages of the animation production process which are pre-production,

production and post-production. This course also touches on the introduction to the types of animation including

computer animation that is suitable for the current industry.

Reference

Alan Cholodenko. 1993. The Illusion Of Life: Essays on Animation, Bloomington, IN:Indiana UP. Paul Wells. 1988.

Understanding Animation, New York.Popper, Frank. 1993. Art in the Electronic Age. Thames & Hudson, Ltd. London

Robert Russett and Cecile Starr. 1988. Experimental Animation: Origins of a New Art, New York: Da Capo.

Pooper, Frank.2006. Art in the Electronic Age :Second Edition. London : Thames & Hudson Ltd.Wells & Moore.

2016. The Fundamental of Animation. New York: Blommsburry Publishing Inc. Herhuth, Eric. 2017. Pixar and the

Aesthetic Imagination; Animation, Storytelling, and Digital Culture. California: University of California Press




CV22902 DRAWING

This course exposes students to the techniques and media in the production of paintings. Students are exposed to the

process, concept and genre paintings artwork. Students will also study color, studying the effects of light on the surface,

mixing colors to experiment and find new techniques. Students experiment with the medium as a media in paintings

such as watercolor, oil, acrylic, poster paints, tempera paint and mixed media. At the end of the course students will

produce works that meet the concepts and disciplines in the production of paintings.

Reference

Betti, C., & Sale, T. 1997. Drawing A Contemporary Approach. USA: Harcourt Brace College Pub. Bowen, R. 1992.

Drawing Master Class. London: Leopard Books Dodson, B. 1995. Key to Drawing. Cincinnati, Ohio: North Light Books.

Mataznan. S. 1995. Drawing Nature. Cincinnati, Ohio: North Light Books. Turner, J.R 1995. Drawing with Confidence.

New York: Van Norstrand Reinhold. Powell, W.F. 2020. Drawing Landscapes: Learn to draw Outdoor Scenes Step by

Step. Walter Foster Publishing

CV21702 EXPLORATION OF INDIGENOUS ART

This course emphasizes on qualitative research methods in the field in relation to the traditional arts that are still practiced

by the Sabah Indigenous community. Students are exposed to the discipline and procedures to obtain current information

in the field and then report their findings. Direct observation is implemented in craft production traditional handicrafts

such as traditional wood carving, traditional costume making, production of traditional coloring materials, and other

related artistic aspects. Research conducted in groups outside the campus area and focuses on a particular place and

tribe. The findings will be presented through a symposium, colloquium or forum.

Reference

Elizabeth & Alman. (1963). Handcraft in North Borneo. Jesselton: Sabah Publishing House. Ismail Ibrahim, etal. (2013).

Warisan Seni dan Budaya Masyarakat Kepulauan Pesisir Sabah. Kota Kinabalu:Universiti Malaysia Sabah. Ismail Ibrahim.

(2007). Motif dan Corak Etnik Sabah. Kota Kinabalu: Universiti Malaysia Sabah. Mohamad Najib Abdul Ghafar. (1999).

Penyelidikan Pendidikan. Johor Bahru: Universiti Teknologi Malaysia. Whitehead, J. (1991). Exploration of Mount




Kinabalu. North Borneo. Kota Kinabalu: Yayasan Sabah.Carole Gray, Julian Malins. 2016. Visualizing Research: A Guide

to the Research Process in Art and Design. Norfolk, UK: Routledge.

CV21902 DIGITAL AUDIO VIDEO PRODUCTION I

This course provides students with an understanding and skills on the basics of digital audio and video in the film,

television, animation industries. Technical skills of cameras, storyboards, computer hardware, audio software and video

editing. Students are trained in the production of professional audio and video ideas.

Reference

Wallace Jackson. 2015. Android Studio New Media Fundamentals: Content Production of Digital Audio/Video, Illustration

and 3D Animation. aPress. Terry T. Gisna. 2018. How to Create Information Products 101: Beginners Quick Guide to

Creating Video Courses, Audios, and eBooks in Digital Format That Can Make You $10 to 1,000+ Per Sale. Independently

Published. ISBN10 1728744687. ISBN13 9781728744681. Alex Anderson. 2015. Create Video/Audio on Your Product:

Facilities of Making Video/Audio on Product. Createspace. ISBN10 1505942837. ISBN13 9781505942835. Cleve, Bastian.

2005. Film Production Management, 3rd ed. Focal Press.James, Jack. 2006. Digital intermediates for film and video. USA:

Focal Press.Lyver, Des & Swainson, Graham. 2002. Basics of Video Production, 2nd ed. Focal Press.Whitaker, Jerry. 2002.

Master Handbook of Video Production. McGraw-Hill Professional.

CV21002 GALLERY AND EXHIBITION MANAGEMENTS

This course aims to expose students to professional gallery and exhibition management skills. Students understand the

context of galleries and operate effective management planning, acquisition and preservation of the art infrastructure.

In addition, the opportunity to do practical training related to staging planning and exhibition projects in groups. At the

end of the course students will hold a session of criticism and appreciation.

Reference

Bellman, W.F. 1974. Lighting the Stage: Art and Practice. New York: Crowell.Blau, H. 1992. To All Appearance : Ideologi

and Performance. USA: Rouledge & Kegan Paul.Hartley, John. 2005. Creative Industries (edit). Brisbane, Australia:

Blackwell Publishers.Robertson. 2005. Understanding International Art Markets And Management. London: Routledge




Lorenc.Cher Krause Khight, Harriet F. Senis., (2018). Museums and Public Art?. New Castle Upon Tyne, United Kingdom:

Cambridge Scholars Publishing.

CV21202 BASIC 3D ANIMATION

This course touches on the basic concepts of model construction in 3D animation as a whole. It explains how 3D models

in animation are built, types, and ways of applying mesh models, materials, lighting, texture mapping, rendering methods,

cloth, hair, and special effects. This course introduces the basics of 3D model making before students produce a final

project. The platform used for the production of 3D animated models is Macintosh or PC Platform, in addition to the use

of open-source software: Blender, and the introduction to Maya and 3D Studio Max.

Reference

Allan Cholondenko. (2002). The Illusion of Life: Essay of Animation, Second Edition. Bloominton, IN:Indianan UP. Paul

Wells. (1998). Understanding Animation, New York. Baechler, O., & Greer, X. (2020). Blender 3D By Example: A project-

based guide to learning the latest Blender 3D, EEVEE rendering engine, and Grease Pencil, 2nd Edition. Packt Publishing.

Brito, A. (2019). Blender 2.8: The beginner’s guide. Independently published. Legaspi, C. (2015). Anatomy for 3D Artists:

The Essential Guide for CG Professionals (3dtotal Publishing, Ed.). 3DTotal Publishing. Valenza, E. (2015). Blender 3D

Cookbook: Build your very own stunning characters in Blender from scratch. Packt Publishing. Villar, O. (2014). Learning

Blender: A Hands-On Guide to Creating 3D Animated Characters (1 edition). Addison-Wesley Professional.

CV21402 BASIC ADVERTISING

This course introduces the basics of advertising and advertising art design. It emphasizes the principles, concepts of

advertising, definition, organization within the agency, analyzing the strategy of an advertisement in a contemporary and

digital tradition. Students will be exposed to the history, figures and case studies of previous advertising. Students are

also introduced to the types of advertising such as promotion advertisements, service advertisements (PSA) and

corporate advertisements. In terms of skills, students will conduct filming sessions to succeed a commercial TV

commercial, corporate advertisement or service advertisement.




Reference

Anholt, S. (2003). Brand New Justice: The Upside of Global Branding. Oxford, Boston: Butterworth-Heinemann.Belch,

G.E. & Belch, M. (2001). Advertising and Promotions. Boston: McGraw-Hill Himpe, T. (2008 ). Advertising Next. San

Francisco, California: Chronicle Books.O’ Guinn, T.C., Chris, T.A. & Semenik, R.J. (2003). Advertising & Integrated Brand

Promotion. 3rd ed. Australia: Thomson South-Western. Zimmerman, J. (2003). Marketing On the Internet: Your Seven-

Step Plan for Succeeding in E-Business. Now That the Hype Is Over. New York: Gulf Breeze Maximum Press. David

Ogilvy, (2013) Ogilvy on Advertising. Knopf Doubleday Publishing Group: Shelly Rodgers, Esther Thorson. (2017) Digital

Advertising. Routledge.

CV34103 COLLABORATIVE PROJECT

This course emphasizes on students about generating personal ideas and concepts, innovative exploration and new

discoveries. Students are also required to produce collaborative project papers and are encouraged to seek guidance

from their respective supervisors. This course is the initial stage of MATRIX project production. Students will produce

projects of their choice based on previously mastered courses. Students will experiment, research and generate ideas by

implementing elements of IT and multimedia skills. At the end of the course, students will produce a work proposal

(mock up). Recommendations for this work will be extended to the CT30406 Final Project course as a final project.

Reference

Burstein D. & Stasiowski F. 1992. Project Management For The Design Professional.Whitney Library of Design London.

Martha Metzdorf. 1990. The Ultimate Porfolio, Cincinnati, Ohio, USA. Nikos Stangos. 1993. Concepts of Modern Art: From

Fauvism to Postmodernism, Thames & Hudson Ltd London. Paula Sher. 1992. The Graphic Design Porfolio, Watson

Guptill Publication, New York. Veronica Napoles. 1993. Product Design and Corporate Strategy, McGraw-Hill Inc. USA.

CV21602 BATIK

This course provides exposure on design of textile technology specific to batik art. Students study and research R&D on

the motives, techniques and processes of producing printed batik and batik canting. Understanding their patterns from

a variety of motives by paying attention to functions, cultural values and finishing. Learning knowing tools and materials

and getting to know some of the leading figures in textile craft.




Reference

Ball, Kazz and Janitch, Valerie. 1994. Hand Painted Textiles For The Home. Singapore: Saik Wah Press Pte. Ltd.Noor

Azlina Yunus. 2012. Malaysian Batik: Reinventing a Tradition. North Clarendon, Vermont: Tuttle Publishing.Siti Zainon

Ismail. 1994. Malay Woven Textiles. Malaysia: Dewan Bahasa dan Pustaka.Philips, Peter and Bunce, Gillian. 1993. Repeat

Patterns A Manual Designers Artists & Architects. London: Thames & Hudson Ltd. Venables, Jane. 1994. The Silk Painting

Workshop, Painting, Marbling & Batik For Beginners. Italy: David & Charles Ltd. Lizzie King. 2017. Tie & Dye: Colourful

clothing, gifts and decorations. London: Pavilion Books.

CV22002 GRAPHIC ILLUSTRATION

This course provides students with the understanding and skills of digital graphic illustration concepts. This course

introduces illustrations, types, functions of illustrative images in a work. Students are introduced to the characteristics

and principles of illustration to produce a digital illustration work based on the concept of discipline in the industrial sector

such as automobile illustration, fashion, cartoons, characters and medicine. Students are exposed to the skills of using

computer software and digital computer production techniques to equip students with skills in line with current industry

needs.

Reference

Male, A. (2019). Companion to Illustration: Art and Theory. John Wiley & Sons, Inc, Embury, G & Minichiello, M. (2018).

Reportage Illustration : Visual Journalism. London : Bloomsbury Publishing.Inc, Zeegen, L (2010). Complete Digital

Illustration: A Master Class in Image-Making, RotoVision SA, Zeegen, L (2009). What Is Illustration?, RotoVision SA,

DiMarco, J. (2010). Digital Design for Print and Web: An Introduction to Theory, Principles, and Techniques. John Wiley

& Sons, Inc, Armstrong, H. (2016). Digital Design Theory: Readings from the Field, New York: Princeton Architectural

Press, Lupton, E & Philips, J.(2008). Graphic Design: The New Basics, 2nd Edition, New York: Princeton Architectural

Press.

CV22302 ARTS HISTORY & AESTHETIC II

This course provides the theoretical knowledge in relation to the historical development of the painting in Malaya began

in the 1930s to the post-Merdeka and Sabah developments in painting began in the 1940s to the present. The style of

presentation of each era is revealed through examples of works in the form of paintings, art prints and sculptures.




Reference

Ahmad Rashidi Hasan. (2001). Sejarah Seni Lukis. Shah Alam: Karisma Publications. Galeri Petronas. (2016). Young

Malaysian Artists : New Object (ION 111). Kuala Lumpur : Institut Terjemahan & Buku Malaysia. Ismail Ibrahim.

(2005). Sejarah Perkembangan Senilukis Sabah. Kota Kinabalu: Universiti Malaysia Sabah. Muliyadi Mahamood. (2001).

Senilukis Moden Malaysia. Kuala Lumpur: Utusan Publication & Distributor Sdn Bhd. Redza Piyadasa. (2001). Rupa

Malaysia: Meninjau Seni Lukis Moden Malaysia. Kuala Lumpur: Balai Seni Lukis Negara. Muliyadi Mahamood. (2007).

Modern Malaysian Art: From The Pioneering Era To The Plurlist Era. Kuala Lumpur: Utusan Publication & Distributor Sdn

Bhd.

CV22902 CERAMIC

This course aims to provide students with fundamental knowledge of hand-construction techniques to work with clay.

On the course, student should learn techniques such as slab construction, pinching, and coiled clay to 3 dimension (3D)

shape or sculptural works of art. Student will discover communities and artists that used specific techniques. Student

can also work with a range of decorative techniques to incorporate texture and/or written imagery; use colored slips and

glazes.

Reference

George Savage, Harold Newman, 1999. An Illustrated Dictionary of Ceramics, Thames & Hudson Jenny Rodwell.

Voyageur Press.

Jacqui Atkin, 2013. Handbuilt Pottery Techniques Revealed: The Secrets of Handbuilding Shown in Unique Cutaway

Photography, B.E.S.; 2 edition John Gale, 2001. Pottery- Teach Yourself, Mc Graw-Hill. Neal French. Kathy Triplett, 2001.

Handbuilt Tableware: Making Distinctive Plates, Bowls, Mugs, Teapots and More: (A Lark Ceramics Book) Lark Books;

First Edition. Susan Halls, 2014. Pinch Pottery: Functional, Modern Handbuilding, Lark Crafts. Sunshine Cobb, 2018.

Mastering Hand Building: Techniques, Tips, and Tricks for Slabs, Coils, and More (Mastering Ceramics)

CV33502 WEB INTERACTIVE

This course discusses the basic concepts, principles and techniques of website development. This course is important

because it provides understanding and skills to students about designing websites using multimedia authoring software,




programming languages, upload results online on the web site as well as training students to produce ideas and skills in

an interactive website.

Reference

Shelly, G., Napler, H. & Rivers, O. (2009). Web Design: Introductory Concepts and Techniques. 3rd edition, Boston:

Course Technology, Cengage Learning. Shelly, G & Campbell, J. (2012). Web Design: Introductory, 4th Edition, Boston:

Course Technology, Cengage Learning. Beaird, J & George, J. (2014). The Principles of Beautiful Web Design. 3rd

Edition. SitePoint Pty. Ltd. Ford, R. & Wiedermann, J. (2019). Web Design. The Evolution of the Digital World 1990-

Today. Taschen GmbH. McIntire, P. (2008). Visual Design for the Modern Web. Pearson Education. Scott, B & Neil, T.

(2009). Designing Web Interfaces: Principles and Patterns. O’Reilly Media Inc. DeFeterici, G. (2012). The Web Designer's

Roadmap. SitePoint Pty. Ltd.

CV33902 CERAMIC TECHNOLOGY

The course gives students basic an understanding of the relationship between ceramic material concepts and the use of

these materials in pottery designs and applications. The course will also describe the interaction between the

manufacturing process and the selection of materials and the need for a collaborative approach to works of art.

Reference

Jacqui Atkin, 2017. Beginner's Guide to Pottery & Ceramics: Everything you need to know to start making beautiful

ceramics. Search Press Judith S. Schwartz, 2008. Confrontational Ceramics. A & C Black Publishers Ltd Marylin Scott,

2006. Potter's Bible: An Essential Illustrated Reference for both Beginner and Advanced Potters (Artist/Craft Bible Series)

Chartwell Books Peter Cosentino, 2018. The Encyclopedia of Pottery Techniques: A unique visual directory of pottery

techniques, with guidance on how to use them Search Press; Reprint edition Tom Morris, 2018. New Wave Clay: Ceramic

Design, Art and Architecture. Frame Publishers




CV32102 DIGITAL AUDIO VIDEO PRODUCTION II

This course introduces students' principles and practices on advanced digital video audio and trains students to develop

ideas and skills in producing professional audio and video. The production of short films, documentaries, animations and

other multimedia designs is the focus in providing skills to students.

Reference

Scorpio Digital Press. 2020. Independent Production House Startup Guide : How to Make Audio, Video, Movie and

Advertisement - Advertising Industry I Film Production Technique - Entertainment and Promotion. Independently

Published. Emergent Learning. 2017. Learning Audio and Video Production Student Edition -- VitalSource eText –

National. Pearson. Jim Foust, Edward J. Fink, Lynne Gross. 2017. Video Production: Disciplines and Techniques.

Routledge. Harry C. Box. 2020. Set Lighting Technician’s handbook: Film Lighting Equipment, Practice, and Electrical

Distribution. Taylor & Francis Ltd. Bruce Bennett, Marc Furstenau & Adrian Mackenzie. 2008. Cinema and Technology,

Cultures, Theories, Practices. Palgrave Macmillan Blain Brown. Cinematography, Theory & Practice, Image Making for

Cinematographers, Directors, and Videographers. Focal Press. Ettedgui, Peter. Cinematography: Screencraft. 2000. Focal

Press.Jones, et. Al. Film into Video. 2000. Focal Press. Louis Giannetti. Understanding Movies, 9th Edition. 2002. Prentice

Hall.

CV33702 2D ANIMATION

The 2D Animation Course is an extension of the Basic 2D Animation course (CV21302). This course touches on the

concept of 2D animation as a whole and explains the process of generating 2D animation, the types and applications of

the process of animation production in depth. This course is thoroughly explained before students produce the final

project. The platform used for 2D animation production is 2D computerized animation software.

Reference



Robert Russett and Cecile Starr. 1988. Experimental Animation: Origins of a New Art, New York: Da Capo. Pooper,

Frank.2006. Art in the Electronic Age:Second Edition. London : Thames & Hudson Ltd.Wells & Moore. 2016. The




Fundamental of Animation. New York: Blommsburry Publishing Inc. Herhuth, Eric. 2017. Pixar and the Aesthetic

Imagination; Animation, Storytelling, and Digital Culture. California: University of California Press

CV33302 ANIMASI 3D

The 2D Animation Course is an extension of the Basic 2D Animation course (CV21302). This course touches on the

concept of 2D animation as a whole and explains the process of generating 2D animation, the types and applications of

the process of animation production in depth. This course is thoroughly explained before students produce the final

project. The platform used for 2D animation production is 2D computerized animation software.

Reference



Robert Russett and Cecile Starr. 1988. Experimental Animation: Origins of a New Art, New York: Da Capo. Pooper,

Frank.2006. Art in the Electronic Age:Second Edition. London : Thames & Hudson Ltd.Wells & Moore. 2016. The

Fundamental of Animation. New York: Blommsburry Publishing Inc. Herhuth, Eric. 2017. Pixar and the Aesthetic

Imagination; Animation, Storytelling, and Digital Culture. California: University of California Press

CV33302 3D ANIMATION

The 3D Animation Course is an extension of the 3D Animation Basic Course (CV21202). This course touches on the

concept of 3D animation as a whole and explains how 3D animation is produced, the types, and ways to apply the 3D

animation production process in depth. Among the techniques touched on are Key Framing, Rigging, Posing, rigid body

dynamics, Path animation, motion capture, particle system, fluid animation, deformation, hair, cloth, and soft bodies.

Students will use open-source software: Blender, in addition to introductions to MAYA and 3D Studio Max. This course is

thoroughly explained before students produce the final project.

Reference

Baechler, O., & Greer, X. (2020). Blender 3D By Example: A project-based guide to learning the latest Blender 3D, EEVEE

rendering engine, and Grease Pencil, 2nd Edition. Packt Publishing. Brito, A. (2019). Blender 2.8: The beginner’s guide.




Independently published. Legaspi, C. (2015). Anatomy for 3D Artists: The Essential Guide for CG Professionals (3dtotal

Publishing, Ed.). 3DTotal Publishing. Valenza, E. (2015). Blender 3D Cookbook: Build your very own stunning characters

in Blender from scratch. Packt Publishing.Villar, O. (2014). Learning Blender: A Hands-On Guide to Creating 3D Animated

Characters (1 edition). Addison-Wesley Professional.

CV32503 BORNEO ETHNICS ARTS ANALYSIS

This course gives exposure to several aspects of arts among ethnics inhabiting the Borneo Archipelago, especially in

Sabah. Students are required to identify and scrutinize on issues related to traditional objects and cultures within Borneo

for research materials. Subsequently, the students are to analyze the concepts and creation techniques; influences of

motives and materials; decorative elements; and design concepts in the context of contemporary and traditional. At the

end of the course, students would be able to successfully synthesize the research by expressing it through visual

communication posters.

Reference

Elizabeth & Alman. (1963). Handcraft in North Borneo. Jesselton: Sabah Publishing House.Harrisson, Tom & Harrisson,

B.(1969-1970). “The Prehistory of Sabah.” Sabah Society Journal. Vol.4 .Ismail Ibrahim. (2013). Warisan Motif dan

Corak Etnik MURUT (2ed). Kota Kinabalu : Universiti Malaysia Sabah. Whitehead, J. (1991). Exploration of Mount

Kinabalu. North Borneo. Kota Kinabalu: Yayasan Sabah.Roth, Henry Ling. (1968). The Natives of Sarawak and British

North Borneo Vol.(I),(II). Singapore: University of Malaya. Carole Gray, Julian Malins. 2016. Visualizing Research: A

Guide to the Research Process in Art and Design. Norfolk, UK: Routledge.

CV34503 COMPOSITION TECHNOLOGY

This course prepares students to understand the basics of composition technology through the use of computer and VFX

software used by film companies and home studios. This course introduces students to the arts and sciences in composite

visual effects for digital filmmaking. Topics to be studied include visual effects workflow, imaging technology, green

screen, image processing, matte production, and tracking. Also, students will learn the production of composition

technology (practical) with computer software ranging from recording, mixing, use of effects, and mastering. Through

this course, students present their work either individually or in groups.




Reference

Lanier, L. (2015). Compositing Visual Effects in After Effects: Essential Techniques (1 edition). Routledge. Meyer, C., &

Meyer, T. (2010). Creating Motion Graphics with After Effects: Essential and Advanced Techniques, 5th Edition, Version

CS5 (5 edition). Routledge. Vepakomma, M. (2014). Blender Compositing and Post Processing. Packt Publishing. Wright,

S. (2010). Digital Compositing for Film and Video, Third Edition (3 edition). Focal Press. Wright, S. (2017). Digital

Compositing for Film and Video: Production Workflows and Techniques (4 edition). Routledge.



bachelor of arts with honors

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