CRICOS Provider no.: 00098G

Faculty of Arts & Social Sciences

School of the Arts and Media

MUSC 2113

Film Music

Semester 2, 2014

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1. Location FACULTY ARTS AND SOCIAL SCIENCES

SCHOOL THE ARTS AND MEDIA

COURSE CODE MUSC 2113

COURSE NAME FILM MUSIC

SESSION 2 YEAR 2014

2. Table of contents

• Page Staff Contact details School of the Arts and Media (SAM) Contact Information Attendance Requirements, Essential Information for FASS/SAM students Course Details, Course Aims, Learning Outcomes, Graduate Attributes Rationale for inclusion of content and Teaching Approach Assessment Submission of Assessment Items Academic Honesty and Plagiarism Course Schedule Expected Resources for Students, Suggested Reading List Course Evaluation and Development Other Information (Student Responsibilities) Notes for completion of all Assessment items

1 2 2 2 3 4 5 6 6 9 11 11 11

3. Staff contact details Course Convener

Name Dr JOHN PETERSON

Phone 9385 4870

Office WEBSTER, 105

Email address j.peterson@unsw.edu.au

Contact time and availability

Tuesday: 1.00pm – 2.00pm Wednesday: 11.00am – 12.00pm

Teaching Staff: Lecturer and Tutor

Name Dr JOHN PETERSON

Phone 9385 4870

Office WEBSTER, 105

Email address j.peterson@unsw.edu.au

Contact time and availability

Tuesday: 1.00pm – 2.00pm Wednesday: 11.00am – 12.00pm

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4. School of the Arts and Media (SAM) Contact Information Room 312, level 3 Robert Webster Building Phone: 9385 4856 Email: sam@unsw.edu.au 5. Attendance Requirements A student is expected to attend all class contact hours. Attendance at lectures, screenings and tutorials will be recorded. If you are more than 15 minutes late, you are deemed not to have attended. It is your responsibility to ensure your name has been marked off at each class. A student who attends less than 80% of class contact hours without justification may be awarded a final grade of UF (Unsatisfactory Fail). If a student experiences illness, misadventure or other occurrence that makes absence from a class/activity unavoidable, they should seek permission from the Course Authority. The application should be accompanied by an original or certified copy of a medical certificate or other form of appropriate evidence. A Course Authority may excuse a student from classes for up to one month. A student seeking approval to be absent for more than one month must apply in writing to the Dean. A student who has submitted the appropriate documentation but attends less than 66% of the classes/activities will be asked by the Course Authority to apply to discontinue the course without failure. For more information about the FASS attendance protocols, see the SAM policies and guidelines webpage: https://sam.arts.unsw.edu.au/students/resources/policies-guidelines/ 6. Essential Information For FASS/SAM Students For essential student information relating to: attendance requirements; requests for extension; review of marks; occupational health and safety; examination procedures; special consideration in the event of illness or misadventure; student equity and disability; and other essential matters, see the SAM Policies and Guidelines webpage: https://sam.arts.unsw.edu.au/students/resources/policies-guidelines 7. Course details Credit Points 6 Summary of the Course

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

Aims of the Course

1. This course aims to develop the student’s analytical skills and approaches to the study of music within multi-media frameworks, especially that of film.

2. The course provides the student with an opportunity to study and discuss in detail the function of music in film as

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demonstrated by selected examples of composed scores written for a variety of film genres, and also investigates the psychological factors involved in composing music for film. The role of music in both Hollywood and non-Hollywood productions (i.e. from Europe, Asia, India, Iran, England, and Australia) will be examined.

Student Learning Outcomes

1. By the end of this course students should be able to identify, classify, and evaluate the various functions of music within a variety of film genres and styles

2. Students will have developed the ability to discuss the use of music in film in a scholarly and informed manner, especially within the context of the academic literature on the topic.

3. Students will have also broadened their knowledge of the history of film music through the study of a variety of films in a variety of genres, some of which they may not have previously encountered or had the opportunity to study in detail.

4. Students will also have had the opportunity to apply the theoretical knowledge discussed in the course in a creative manner via the completion of a short film scoring exercise.

Graduate Attributes 1. Students will develop an in-depth engagement with the relevant disciplinary knowledge in its interdisciplinary context by examining the interaction between music for film and society’s reaction to it and via the completion of set viewing activities that reflect the key points discussed.

2. Students will develop the skills involved in scholarly enquiry, such as information literacy, critical analysis, and writing, via the completion of a creative film-scoring exercise and of an analytical journal that outlines the student’s ability to link concepts discussed in the course to a wider perspective.

3. Information literacy - students will develop the skills to appropriately locate, evaluate and use relevant information via the completion of set readings and in two class tests

4. The skills of effective communication will be developed via participation in class discussion, where students will be encouraged to develop the ability to express informed individual opinions in a supportive and non-judgmental environment.

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

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assessed via the completion of a creative film-scoring exercise. Students are strongly encouraged to apply the modes of listening and viewing demonstrated during the lecture series to their own experiences, and all assessment items are intended to provide an opportunity for critical and analytical discussion surrounding the student’s own experiences with music in film. 9. Teaching strategies There is one weekly Lecture (two hours) and one weekly tutorial (one hour) associated with this course, and both lectures and tutorials will consist of audio and audio/visual demonstrations of course content. Students are encouraged to participate in the lectures and tutorials in a positive manner. Positive participation includes switching off mobile phones before entering the lecture/tutorial room. Please Note: NO LAPTOP COMPUTERS are to be used by students during the lecture or tutorial series. Please take notes via the application of pen to paper. MOODLE: Many student resources for this course will be made available via Moodle, the UNSW eLearning website. These resources include copies of the Course Outline, for example, as well as copies of the notes used by the lecturer. While the lecture note files will be posted on Moodle for students to access, be aware that these will usually be very brief summaries of main topics discussed in lectures, they will not be comprehensive notes, nor will they replace the experience of actually being present in the lecture room. The link to the Log-in page for Moodle can be found on the main UNSW webpage. Log on to Moodle by entering your Student ID and password, and then click on the link to MUSC 2113: Film Music 2014. 10. Assessment Assessment task Length Weight Learning

outcomes assessed

Graduate attributes assessed

Due date

1. Reflective Journal on two set activities (Weeks 1, 3) 2. Class Test (on Lecture material discussed during Weeks 1 - 6). 3. Essay and Film-Scoring Activity.

400 – 500 words for each entry. 1 x 40 minute Test

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

25% 15%

45%

1, 2, 4 1, 3, 4

1, 2, 4

1, 2, 3 1, 2, 4

1, 2

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

Wednesday 03 September (Wk 6) Held during scheduled Tutorial time. Wednesday, 15 Oct (Wk 11) Submit at beginning of scheduled tutorial time.

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

Essay to be approximately 1500 words.

1 x 40 minute Test

15%

1, 3, 4

1, 2, 4

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

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

• Unless otherwise noted, all completed assessment items should be submitted directly to the

lecturer at the beginning of the class on the designated due date.

You may, on occasion, be asked to submit an assessment item via the School Office – it is located

on the 3rd floor, Robert Webster Building.

• Students are advised that a completed School Assignment Cover Sheet must be attached to all

submitted items. Assignment Cover Sheets are available from outside the School Office, or can be

downloaded from the School website.

• Students are also strongly advised to keep an extra copy of all submitted work in case they are

asked to resubmit a particular item.

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

• A student seeking an extension should apply through the Faculty’s online extension tool available in LMS before the due time/date for the assessment task.

• The Course Authority should respond to the request within two working days.

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• The Course Authority can only approve an extension of up to five days. A student requesting an extension of more than five days should complete an application for Special Consideration.

• If a student is granted an extension, failure to comply will result in a penalty. The penalty will be invoked one minute past the approved extension time.

• A student who missed an assessed activity held within class contact hours should apply for Special Consideration via myUNSW.

• This procedure does not apply to assessment tasks that take place during regular class hours or any task specifically identified by the Course Authority as not subject to extension requests.

• For more information, see the FASS extension protocols on the SAM policies and guidelines webpage: https://sam.arts.unsw.edu.au/students/resources/policies-guidelines/

Special Consideration In the case of more serious or ongoing illness or misadventure, you will need to apply for Special Consideration. For information on Special Consideration please go to: https://my.unsw.edu.au/student/atoz/SpecialConsideration.html Students who are prevented from attending a substantial amount of the course may be advised to apply to withdraw without penalty. This will only be approved in the most extreme and properly documented cases. 11. Academic honesty and plagiarism Students are encouraged to read the “Essential information for SAM students” document that is available for download from the SAM website at the following web address: http://sam.arts.unsw.edu.au/resources/

This document contains important information regarding: • student support services; • guidelines for student attendance; • guidelines for extension procedures and/or late submission of assessment items; • academic honesty and plagiarism; • equity and diversity; • occupational health and safety. 12. Course Schedule Topic Date Location Lecture content Tutorial content Introduction To course. Discussion of Course Outline and Assessment items.

Week 1 29 July Tuesday 10am-12pm

Webster G17

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

Tutorials begin in Week 2.

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Music in important and influential Silent Films Where is the music? Classic Hollywood orchestral film score Scoring a scene Film Noir. Film Music Analysis Early Electronic Music in Film Film music and composer style 1. Classical music and film: Stanley Kubrick and compiled scores. Class Test

Week 2 05 August Tuesday 10am-12pm Week 2 06 August Wed 12pm-1pm Week 3 12 August Tuesday 10am-12pm Week 3 13 August Wed 12pm-1pm Week 4 19 August Tuesday 10am-12pm Week 4 20 August Wed 12pm-1pm Week 5 26 August Tuesday 10am-12pm Week 5 27 August Wed 12pm-1pm Week 6 02 Sept Tuesday 10am-12pm Week 6 03 Sept

Webster G17 Webster G17 Webster G17 Webster G17 Webster G17 Webster G17 Webster G17 Webster G17 Webster G17 Webster G17

Birth of a Nation (1915), The Cabinet of Dr Caligari (1920), Metropolis (1927) Technological innovations: various Examples Max Steiner: King Kong (1933) Erich Korngold: The Adventures of Robin Hood (1938) Bernard Herrmann Citizen Kane (1941) Miklos Rozsa: Double Indemnity (1944) Laura (1945) Lost Weekend (1945); Day the Earth Stood Still (1951); Forbidden Planet (1956); The Birds (1963) 2001 A Space Odyssey (1968; A Clockwork Orange (1971); The Shining (1980)

Blackmail (1929); Scarface (1932). Discussion of Film-Scoring Activity and how to complete it. Analytical Methods for Music in Film

Bernard Herrmann Vertigo (1958); North by Northwest (1959); Psycho (1960) Class Test 1 (ca. 40 minutes).

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Musical Modernism and Film. Use of music in European film. Music in Non-Hollywood films 1. Jazz and Popular Music in Film Music in Non-Hollywood films 2 Contemporary ‘art music’ in film. Music in Australian Film. Japanese Anime Impact of new technology on recent film music Recent film scores

Wed 12pm-1pm Week 7 09 Sept Tuesday 10am-12pm Week 7 10 Sept Wed 12pm-1pm Week 8 16 Sept Tuesday 10am-12pm Week 8 17 Sept Wed 12pm-1pm Week 9 23 Sept Tuesday 10am-12pm Week 9 24 Sept Wed 12pm-1pm Week 10 07 October Tuesday 10am-12pm Week 10 08 October Wed 12pm-1pm Week 11 14 October Tuesday 10am-12pm

Webster G17 Webster G17 Webster G17 Webster G17 Webster G17 Webster G17 Webster G17 Webster G17 Webster G17

Schoenberg, Eisler & others. The Cobweb (1955), On the Beach (1959) Planet of the Apes (1968), Altered States (1980) Guest lecture by Dr Michelle Langford. Guest lecture by Dr John Napier. Jedda (1955); Picnic at Hanging Rock (1975); Mad Max (1979), Somersault (2004), and others. Spirited Away (2002) Howl’s Moving Castle (2004) Various examples

Wings of Desire (1987) Three Colours: Blue (1993) Various examples. Michael Nyman; Philip Glass; John Adams, John Corigliano, Johnny Greenwood Various examples

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What now? What is the future for film music? Being a film composer. Class Test Final comments

Week 11 15 October Wed 12pm-1pm Week 12 21 October Tuesday 10am-12pm Week 12 22 October Wed 12pm-1pm Week 13 28 October No Lecture Week 13 29 October Wed 12pm-1pm

Webster G17 Webster G17 Webster G17 Webster G17

Guest lecture - tbc. No Lecture

Discussion of various examples. Class Test 2 Marked Scoring Assignments to be returned to students (students must be present in class to collect assignments); final comments.

13. Expected resources for students Suggested Textbook details

Additional readings

Hickman: Reel Music: 100 Years of Film Music (Norton, 2005) This is not a compulsory text for this course, it is merely a suggested resource that contains useful additional information on course content.

Those marked with * are sources to which reference will often be made. Anderson, G. Music for silent films, 1894-1929: a guide (Washington: Library of

Congress, 1988) Brophy, P. (ed.). Cinesonic: experiencing the soundtrack (North Ryde,

N.S.W.: Australian Film Television and Radio School, 2001) Bruce, G. Bernard Herrmann: film music and narrative (Ann Arbor, Mich.: UMI

Research Press, 1985) Buhler, J. Flinn, C. and Neumeyer, D. (eds.) Music and cinema (Hanover, N.H.-

London: University Press of New England, 2000) Burt, G., The Art of Film Music, (Boston, Northeastern University Press, 1994) *Carroll, N. Theorizing the moving image (Cambridge: Cambridge University

Press, 1996) [S 791.4301/95] Cohan, S. (ed.). Hollywood musicals, the film reader (New

York: Routledge, 2002) Conrich, I and Tincknell, E (eds.). Film’s musical moments

(Edinburgh: Edinburgh University Press, 2006) Conway, K. Chanteuse in the city: the realist singer in French film

(Berkeley: University of California Press, 2004) *Cook, Mervyn. A History of Film Music (Cambridge: Cambridge University

Press, 2008) [S781.54209/5] • Cook, Nicholas. Analysing musical multi-media (Oxford : Oxford University

Press 2000) [S 781/164 B]

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* Cohen, A. J. (2010). Music as a source of emotion in film. In P. N. Juslin & J. A. Sloboda (Eds.), Handbook of Music and Emotion: Theory, Research, Applications. (pp. 879-908). Oxford: OUP.

Coyle, R. (ed.). Reel tracks: Australian feature film music and cultural identities (Sydney: John Libbey, 2005)

-------------- (ed.). Screen scores: studies in contemporary Australian film music (North Ryde, N.S.W.: Australian Film, Television & Radio School, 1998)

Craggs, S. R. Soundtracks: an international dictionary of composers for film (Aldershot: Ashgate, 1998)

Darby, W. and Du Bois, J. (eds.). American film music: major composers, techniques, trends, 1915-1990 (Jefferson, N.C.: McFarland, 1990)

Dickinson Kay (ed.). Movie Music: The Film Reader (London: Routledge, 2003) [S 781.542/24]

Flinn, C. The new German cinema: music, history, and the matter of style (Berkeley: University of California Press, 2003.

*Gorbman, C. Unheard Melodies: Narrative Film Music (Bloomington: Indiana UP, 1987). [S 782.8509/2]

Hillman, R. Unsettling scores (Indiana UP, 2005) [S791.43024/4] *Kalinak, K. Settling the score: music and the classical Hollywood film

(Madison: University of Wisconsin Press, 1992) [S 781.5420973/2] *Karlin, F. and Wright, R., On the Track: A Guide to Contemporary Film Scoring

(New York: Routledge, 2004). *Kassabian, A. Hearing film: tracking identifications in contemporary Hollywood

film music (New York: Routledge, 2001) [S 781.542/11] Larsen, P. Film Music, (London: Reaktion Books Ltd, 2005) [S 781.54209/4] *Juslin, P. N., & Laukka, P. (2004). Expression, perception, and induction of

musical emotions: A review and a questionnaire study of everyday listening. Journal of New Music Research, 33(3), 217-238.

Marks, M. M. Music and the silent film: contexts and case studies, 1895-1924 (New York-Oxford, Oxford University Press, 1997)

Mera, M. and Burnand, D. (eds.). European film music (Aldershot: Ashgate, 2006)

Neale, S. and Smith, M. (eds.). Contemporary Hollywood cinema. (London-New York: Routledge, 1998)

Nicholson, D. W. (ed.). Australian soundtrack recordings 1927-1996: a discography of soundtracks and associated recordings relating to Australian film and television productions (Sydney: Australian Music Centre, 1997)

*Prendergast, R. M. Film music: a neglected art: a critical study of music in films (New York: W.W. Norton, 1992) [S 781.54209/1]

* Thayer, J. F., & Levenson, R. W. (1983). Effects of music on psychophysiological responses to a stressful film. Psychomusicology, 3(1), 44-52.

Schelle, M., The Score: Interviews with Film Composers, (Beverly Hills, Silman-James Press, 1999).

Sobcheck, N. Screening space: the American science fiction film (New Brunswick, N.J.: Rutgers University Press, 1997)

Sullivan, J., Hitchcock’s Music (New Haven, Yale University Press, 2006) Tagg, Philip and Clarida, Bob. Ten little Title Tunes: Towards a musicology of

the mass media, (New York and Montreal: Mass Media Music Scholars’ Press, 2003) [S 781.542/17]

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14. Course evaluation and development Student feedback on this course is gathered periodically and is always carefully considered with a view to acting on it constructively wherever possible. Feedback is gathered by various means including the Course and Teaching Evaluation and Improvement (CATEI) Process. In light of previous feedback from students in this course, more emphasis has been placed on allowing students to provide a brief score for a short segment of film for assessment purposes in order to further consolidate the student’s understanding of the course concepts. 15. Other information

1. Any student having difficulty with the course is encouraged to consult with the Lecturer/Course Convenor regarding any particular component that may be causing concern to the student; arrangements for any discussions outside of normal consultation time should be made by making an appointment with the Lecturer/Course Convenor via email.

2. Students are expected to attend 80% of scheduled lectures and tutorials, as per the UNSW Guidelines. For further details, please refer to UNSW policy regarding attendance. Please Note: Medical Certificates should be supplied for any absence due to illness, and should be given to the Course Convenor within three days of the student’s return to classes.

3. Scheduling university work: You are expected to plan your academic workload so that you can complete ALL assessment items by the due dates. Given that you will have had adequate notice of your obligations, it is your responsibility to ensure that you develop sensible work patterns so that you do not run into a ‘traffic jam’ of academic work towards the end of the teaching session. The demands of assessments in other courses at the university does not constitute an acceptable excuse for late submission of assessments.

Applications for extensions for any assessment items must be made in writing in accordance with UNSW Guidelines as listed in the ‘Resources for Students’ document that can be found at http://sam.arts.unsw.edu.au/resources/

4. Outside employment: Many full-time students undertake part-time employment. It is assumed, however, that your University studies take priority, and that employment will not interfere with UNSW class schedules or your ability to complete all assessment items (for all courses) by the due dates. Students must be able to make a responsible assessment of their capacity to fulfil the requirements of any chosen external employment and their university commitments. Outside employment should not be used as an excuse for the non-completion of assessment items by the due dates.

NOTES FOR COMPLETION OF ASSESSMENT ITEMS: • Assessment Item 1: Reflective Journal on set Activities

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

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

This test will be based on material discussed in lectures and tutorials during Weeks 1 – 6. The test will be conducted in the Tutorial time on 03 September (Week 6), and will be approximately 40 minutes in duration. Class Test 1 comprises 15% of total mark for this course. • Assessment Item 3: Essay and Film-Scoring Activity

This assessment item is in two parts: Part 1 - Film-Scoring Activity: You will be asked to provide music to accompany two short scenes taken from a selected film. The music provided may consist of either (a) original music composed especially for the scenes; or (b) existing recordings of music that you edit and add to the scenes. Comprehensive instructions will be given to students on how to complete this aspect of the assignment. Part 2 – Essay: You must also complete an analytical essay (ca. 1500 words) that justifies your choice of music in the selected scenes and engages with the current literature on the subject. Completing Assessment Item 3: Part 1: Film-Scoring Activity – Details for completion: Several scenes from selected films will be made available to students via Moodle. Each scene will be approximately two (2) to three (3) minutes in duration. Step 1. Students are asked to select only one (1) scene with which to work, and download the scene from Moodle. Step 2. Two (2) different versions of the same selected scene are to be prepared for this assignment; so make sure you have two copies of the same film scene file to work on. The music you provide in each version of the scene should influence the viewer into experiencing a contrasting interpretation of that scene. For example, a scene might be scored to make a key moment seem like a positive outcome, and then scored again to make the key moment seem like a negative outcome. The music used throughout each scene must be consistent with the approach taken. Students should then compose their music cues, or select examples of existing music, to add to the movie scene. When adding existing music you may need to edit the audio files into

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smaller fragments or create fade-in or fade-out effects: editing of audio files is easily done via software such as Audacity, which is available in the Webster Computer Lab and also available on-line as a free download. Music cues may then be added to the movie scene via the use of iMovie. Further instruction on this aspect of the assignment will be discussed in tutorials. Please note: all instructions on how to complete this part of the assignment will be given using Macintosh computers and software. Students who normally use the Macintosh software platform are encouraged to follow the instructions given in the tutorial and make use of the Computer Lab (Room 140, 1st floor Webster Building) to complete the assignment – all students in this course will have 24-hour/7 day card-swipe access to the Computer Lab. Alternatively students may use equivalent PC-based software to complete the assignment but the final version of the files submitted for assessment must be in a format that can be opened and viewed on a Macintosh computer. It is the individual student’s responsibility to ensure that the files submitted are in a compatible format. Students who submit assignments in an incorrect format (that is, one which cannot be opened on a Macintosh computer by the lecturer) will be asked to resubmit the assignment but this will then be treated as a late assignment and be subject to late submission penalties. The completed assignments must be saved to a CD, DVD, or USB drive, and be submitted directly to lecturer at the beginning of the lecture scheduled for the due date. • All CD or DVD disks should be submitted in a plastic case, and have the following information clearly printed on the CD or DVD itself and also on the cover:

- Course name and number; - Student name and Student number. - Course Convenor name.

• All USB drives must be placed in an ENVELOPE and have the following information clearly printed on outside:

- Course name and number; - Student name and Student number. - Course Convenor name.

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

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SUBMISSION DATE: this assessment item should be submitted at the beginning of the Tutorial at 12.00pm, Wednesday 15 October (Week 11). Please submit the CD/DVD/USB (containing the files relating to your Film-Scoring Activity) AND your accompanying Analytical Essay together. The Analytical Notes may be submitted in hard copy or as a soft copy included as a pdf on the submitted CD/DVD/USB. A School Cover Sheet, completed and signed by the student, must be attached to the CD/DVD/USB. All CD/DVD/USB drives will be returned to the student at the tutorial in Week 13. Students are also strongly advised to keep an extra copy of all submitted work in case they are asked to resubmit a particular item. The Film-Scoring Activity and Analytical Essay comprises 45% of total mark for the course. • Assessment Item 4: Class Test 2 This test will be based on material discussed in lectures and tutorials during Weeks 7 – 12. The test will be conducted in the normal class time on 22 October (Week 12), and will be approximately 40 minutes in duration. Class Test 2 comprises 15% of total mark for this course.