IV. to Delete Or Change an Existing Course Check X All That Apply s2

Course Form I. Summary of Proposed Changes Dept / Program School of Theatre & Dance Prefix and C THTR 565 Course # Course Title Graduate Sound Design Short Title (max. 26 characters incl. spaces) Grad Sound Design Summarize the change(s) proposed Requesting approval to co-convene II. Endorsement/Approvals Complete the form and obtain signatures before submitting to Faculty Senate Office Please type / print name Signature Date Requestor: Mike Monsos Phone/ email : x5138 michael.monsos@umontan a.edu Program Mark Dean Chair/Director: [email protected] Other affected programs Dean: Dr. Stephen Kalm [email protected] du Are other departments/programs affected by this Please obtain signature(s) from modification because of the Chair/Director of any such (a) required courses incl. prerequisites or department/ program (above) corequisites, before submission (b) perceived overlap in content areas (c) cross-listing of coursework III: To Add a New Course Syllabus and assessment information is required (paste syllabus into section V or attach). Course should have internal coherence and clear focus. Common Course Numbering Review (Department Chair Must YES NO Initial): Does an equivalent course exist elsewhere in the MUS? Check all relevant disciplines if course is interdisciplinary. (http://mus.edu/transfer/CCN/ccn_default.asp)

If YES: Do the proposed abbreviation, number, title and credits align with existing course(s)? Please indicate equivalent course/campus. ß

If NO: Course may be unique, but is subject to common course review. Be sure to include learning outcomes on syllabus or paste below. The course number may be changed at the system level.

Exact entry to appear in the next catalog (Specify course abbreviation, level, number, title, credits, repeatability (if applicable), frequency of offering, prerequisites, and a brief description.) ß

Justification: How does the course fit with the existing curriculum? Why is it needed? Are there curricular adjustments to accommodate teaching this course?

Complete for UG courses (UG courses should be assigned a 400 number). Describe graduate increment - see procedure 301.30 http://umt.edu/facultysenate/committees/grad_council/procedures/default.aspx

Complete for Co-convented courses Companion course number, title, and description (include syllabus of companion course in section V) See procedure 301.20 http://umt.edu/facultysenate/committees/grad_council/procedures/default.aspx.

New fees and changes to existing fees are only approved once each YES NO biennium by the Board of Regents. The coordination of fee submission is administered by Administration and Finance. Fees may be requested only for courses meeting specific conditions according to Policy 940.12.1 http://mus.edu/borpol/bor900/940-12-1.pdf . Please indicate whether this course will be considered for a fee.

If YES, what is the proposed amount of the fee? Justification:

IV. To Delete or Change an Existing Course – check X all that apply Deletion Title Course Number From: Level U, X Fro G Change UG, G m: To: Co- To: C convened Description Change X Repeatabilit y Change in Credits From: Cross To: Listing (primary program initiates form) Prerequisites Is there a fee associated with the course? 1. Current course information at it appears in 2. Full and exact entry (as catalog (http://www.umt.edu/catalog) ß proposed) ß G 565 (DRAM 560) Graduate Sound Design 3 cr. (R-12) C 565 Graduate Sound Design 3 cr. Offered autumn and spring. Prereq., consent of instr. (R-12) Offered autumn and spring. Development of specific design skills in sound design. Prereq., consent of instr. Development of specific design skills in sound design utilizing analysis, design, and execution. Co-convenes with THTR 365. 3. If cross-listed course: secondary program & course number 4. If co-convened course: companion course number, title, and description (include syllabus of companion course in section V) See procedure 301.20 http://umt.edu/facultysenate/committees/grad_council/procedures/default.aspx.

U 365 (DRAM 361) Theatre Sound I 3 cr. Offered autumn. Prereq., THTR 102A, 202, 203 (DRAM 103A, 202, 203) or consent of instr. Introduction to principles and practices of theatre sound design. Training for position of sound designer for theatre. Principles, practices, and equipment used to create finished sound designs for theatre, dance and related areas. 5. Is this a course with MUS Common Course Numbering? YE N http://mus.edu/transfer/CCN/ccn_default.asp S O If yes, please explain below whether this change will eliminate the course’s X common course status.

6. Graduate increment if level of course is Have you reviewed the changed to UG. Reference procedure 301.30: graduate increment guidelines? http://umt.edu/facultysenate/committees/ Please check (X) space grad_council/procedures/default.aspx provided. (syllabus required in section V) 7. Other programs affected by the change 8. Justification for proposed change We are requesting approval to co- convene the above-referenced courses. V. Syllabus/Assessment Information Required for new courses and course change from U to UG. Paste syllabus in field below or attach and send digital copy with form.ß

School of Theatre & Dance THTR 565.01 Graduate Sound Design

CLASS SESSIONS: MONDAY, WEDNESDAY - 9:00 TO 10:00 PARTV 036

Instructor Jacob Straw Phone 406.544.2336 Office/Class PART 036 Sound Lab E-Mail [email protected] Office Hours 10:30-12:00 noon PART 036 Or by Appointment

Required Texts And Materials:  The Sound Reinforcement Handbook by Gary Davis and Ralph Jones Hal Leonard Publishing , 1989  Flash Drive Memory Stick

 A good set of headphones

 Earplugs

Recommended but not required:  Technical manual for Protool 8 and Digidesign Venue software for SC48 mixing console. Both are available for free download at digidesign.com  An audio editing program for your Mac or PC such as Pro Tools M powered, Sony Sound Froge, or Adobe Audition.

Description: This course will expand upon the knowledge graduate students gained in undergraduate school about the theater sound equipment. It will also introduce the student to script analysis, collaboration, and plotting of non-musical plays. Furthermore, this course will further educate students to the listening skill needed as an audio engineer.

Goals: The purpose of this course is to encourage students to expand their creative processes as they are applies to theater sound design and operations. Students will be challenged to cultivate further their aural awareness with regards to the aural environment and to analyze sound for its emotional impact. Class discussions and daily exercises will focus translating what you hear creatively. Students will learn advanced techniques used to analyze a script for audio needs, diagram systems, and utilize audio equipment to deliver sound to the stage.

The technique of a sound design artist is rooted in their knowledge of audio equipment and their competence with it. Projects and the text will focus on further developing a technical understanding of the equipment required to effectively make audio ideas part of a theater production.

Assignments and lectures will cover the detailed function of each type of equipment, diagrams, troubleshooting, acoustics and technical problem solving.

Each graduate student will assist undergraduate students in THTR 365 analyze, execute, and understand basic Audio Design theories and processes. Students will also engage in additional cohort interactions on their own.

Projects and Requirements: What’s in the mix? Identify all sound sources ( instruments, voices, sound FX, etc. ) in various recordings, plays, or musical performances.

Perfect Pitch Identify the pitched of a sign wave tone by ear within two octaves.

“ Ring out” a Sound System using a graphic EQ to achieve the maximum gain before feedback ( wear earplugs ).

Project 1 Record 3-5 minutes of a talk show, televangelist, or news report/article ( you may record yourself or someone else reading ) and cut and paste it to say something different. Project should be done using Pro Tools. Final length should be 60 seconds. Original and edited versions will be played in class. 150 pts

Project 2 Create two sound designs for an excerpt of a non-musical play, movie, commercial etc. (record yourself and/or others reading a script, once with prerecorded sound effects ( form sound effects library, internet, etc. ) and once again with sounds you record yourself ( field recording, studio Foley, etc. ) 300 pts

Test #1 This test will cover material presented in the text and in class. It will focus primarily on terms, definitions, and equipment functions.

Test #2 This test will be a practical application of trouble shooting skills.

Attendance/Daily reading Students will be expected to come to every class. They are expected to have read assigned texts and to participate in discussions. Participation is 10 points a day. Pop Quizzes on assigned reading may be given during any class.

Writing ability and adherence to guidelines All written assignments are to be typed and will be graded on correct use of academic English as well as content. All written assignments should be within the prescribed range/pages. All audio projects should adhere to the timing limits assigned.

Late projects/papers Assignments turned in late will lose 5% of their point value for each day missed. No projects or papers will be accepted after the day of the final.

Extra credit Extra credit is encouraged by the professor. Student must receive the instructor’s approval before starting a project that is to be used for extra credit. Critiques of shows are always welcome.

Grades will be A to F derived from percentage of total points. Grading Points Percent Grade Attendance 300 90-100% A What’s in the Mix 40 80-89% B Perfect Pitch 40 70-79% C Ring Out 100 60-69% D Project 1 150 59% and below F Project 2 300 Quizzes 70 Exam1 100 Exam 2 100 Total Points 1200

8/29 Introduction and syllabus 8/31 Read: Section 1 What is a sound system 9/7 class Discussion 9/12 Read: Section 2 Frequency response and 3.5 Volume, Level, and Gain 9/14 Class Discussion 9/19 Read: Section 4 Dynamic Range and Headroom 9/21 Class Discussion 9/26 Read: Section 10 Microphones 9/28 Class Discussion 10/3 Read Section 11 Preamps and Mixers 10/5 Class Discussion 10/10 Read: Cabling 10/12 Class Discussion 10/17 Read Section 12 Power Amps 10/19 Read Section 13 Loud Speakers 10/24 Read Section 14 Signal Processing Equipment 10/26 Class Discussion 10/31 Pro Tools 11/2 Pro Tools 11/7 Pro Tools 11/9 Pro Tools 11/14 SFX 11/16 SFX 11/21 Venue SC48 Montana Theater 11/23 Venue SC48 Montana Theater 11/28 Venue SC48 Montana Theater 11/30 Class Discussion 12/5 TBA 12/7 TBA 12/12 Final 8am

Cell Phone Policy: As the class meets in a recording studio all students need to be in the habit of turning of their cell phones before class. This is not only a good habit in the classroom but also when entering a recording studio of any kind. Violation of this rule will result in loss of attendance points for the class. Academic Misconduct and the Student Conduct Code All students must practice academic honesty. Academic misconduct is subject to an academic penalty by the course instructor and/or disciplinary sanction by the University. All students need to be familiar with the Student Conduct Code. The Code is available for review online at http://life.umt.edu/vpsa/student_conduct.php. All Theatre & Dance students must have an in-depth knowledge of the practices and procedures outlined in the School of Theatre & Dance Student Handbook. The Handbook is available online at http://www.umt.edu/theatredance/about/handbook.

There is inherent risk involved in many Theatre & Dance classes as they are very physical in nature. Please proceed through class, shop time, or rehearsal with caution. Always be mindful of your personal safety and the safety of others. Students participating in class/shop/rehearsal/performance do so at their own risk.

Due to safety considerations, at no point during a student’s time spent in class or serving on a production (in any capacity) should non-enrolled persons be guests of that student without my consent. Presence of such unauthorized persons in a class, shop, or any backstage/off-stage area will negatively affect a student’s grade.

Students with disabilities may request reasonable modifications by contacting me. The University of Montana assures equal access to instruction through collaboration between students with disabilities, instructors, and Disability Services for Students (DSS). “Reasonable” means the University permits no fundamental alterations of academic standards or retroactive modifications. For more information, please consult http://life.umt.edu/dss/.

School of Theatre & Dance THTR 365.01 Theatre Sound 1/ THTR 565.01 Graduate Sound Design Instructor Jacob Straw Phone 406.544.2336 Office/Class PART 036 Sound Lab E-Mail [email protected] Office Hours 10:30-12:00 noon PART 036 Or by Appointment

Required Texts And Materials:  The Sound Reinforcement Handbook by Gary Davis and Ralph Jones Hal Leonard Publishing , 1989  Flash Drive Memory Stick

 A good set of headphones

 Earplugs

Recommended but not required:  Technical manual for Protool 8 and Digidesign Venue software for SC48 mixing console. Both are available for free download at digidesign.com

 An audio editing program for your Mac or PC such as Pro Tools M powered, Sony Sound Froge, or Adobe Audition.

Description: This course will prepare students in the fundamentals of the operation of theater sound equipment. It will also introduce the student to script analysis, collaboration, and plotting of non-musical plays. Furthermore, this course will introduce students to the listening skill needed as an audio engineer.

Goals: The purpose of this course is to introduce students to the creative process as it is applies to theater sound. Students will be challenged to cultivate an aural awareness of their environment and to analyze sound for it’s emotional impact. Class discussions and daily exercises will focus translating what you hear creatively. Students will learn to analyze a script for audio needs, diagram systems, and utilize audio equipment to deliver sound to the stage. The technique of a sound design artist is rooted in their knowledge of audio equipment and their competence with it. Projects and the text will focus on developing a technical understanding of the equipment required to effectively make audio ideas part of a theater production.

Assignments and lectures will cover the general function of each type of equipment, diagrams, troubleshooting, acoustics and technical problem solving. Projects and Requirements: What’s in the mix? Identify all sound sources ( instruments, voices, sound FX, etc. ) in various recordings, plays, or musical performances.