Studying at York
Critical Recreation Project - MUS00116I
- Department: Music
- Credit value: 20 credits
- Credit level: I
- Academic year of delivery: 2023-24
- See module specification for other years: 2022-23
Module summary
This module develop' practical, technical and professional skills through a collaborative group project, supported by critical listening sessions, research skills workshops and seminars. Over the semester you will work on producing a recreation of an existing work of recorded music, informed by independent enquiry into the techniques, approaches and context surrounding that work. You will work in small groups to produce your recreation, defining your own individual roles within a group, as well as supporting group members where necessary. Specifically, you will develop critical approaches to sound recording practices, critical listening skills, and professional and collaborative experience, and will have the opportunity to specialise in professional roles of your choice.
Module will run
| Occurrence | Teaching period |
|---|---|
| A | Semester 1 2023-24 |
Module aims
- To extend the range of technical proficiencies covering a range of requisite skills areas necessary for a sound recordist's professional skillset, based on existing research and practical work.
- To broaden and further develop your individual interests and specialisations in a group project setting.
- To broaden and further develop proficiency in the following key areas: tracking, editing, mixing, mastering, DAW operation, studio operation, MIDI, music theory, listening skills, research and writing, processing, routing, microphone technique, EDI considerations, and studio citizenship.
- Directly implement these key areas to aid your development.
- To develop your interpersonal skills in collaboration and teamwork, in turn developing professional proficiencies, standards, and values.
Module learning outcomes
By the end of this module you will have:
- a broader knowledge of relevant techniques, skills, concepts, and proficiencies.
- professional skills in collabration, negotiation, compromise and teamwork.
- an increased awareness of research-informed practice.
- punctuality, preparation, focus and attention.
- an understanding of rehearsal or session organisation.
- knowledge of complex technical solutions for recording challenges.
- a deeper awareness of balance, processing, and production through attentive listening.
- to define and attain identified professional development goals.
Indicative assessment
| Task | % of module mark |
|---|---|
| Essay/coursework | 50 |
| Groupwork | 50 |
Special assessment rules
None
Additional assessment information
Formative: You will undertake group presentations at the mid-point of the semester, which will include recording, mix, musical and contextual analysis of a set piece of production. Pieces will be assigned based on specific proficiencies identified by yourself for on-going development (tracking, editing, mixing, mastering, DAW operation, studio operation, MIDI, music theory, listening skills, research and writing, processing, routing, microphone technique, EDI considerations, and studio citizenship & collaboration). This will allow you to develop and practice presentation skills in presentation in preparation for your summative presentations, and demonstrate research and inquiry skills relevant to their practical work. You will be given individual, in-person feedback.
Summative: After the presentations, you will be asked to recreate a set work as closely to the original as possible. This will support and develop core technical skills, and allow students to focus on the practical implementation of key proficiencies. The set works will target your defined key proficiencies as main tenets of the recreation. You should submit:
-
Your finalised/mastered .wavs file(s) at CD standard OR a DDP image of your final mixes at CD standard, all with appropriate labelling.
-
A DAW session of your recording with all source files and additional files included
-
A commentary (1500 words maximum) detailing and critiquing your processes when creating the recorded artefact.
-
Any additional documentation, routing diagrams, session notes etc. that supports your commentary.
-
NB the group project mark is contingent on students' participation in the project and may differ from other group members if a student does not participate sufficiently.
Indicative reassessment
| Task | % of module mark |
|---|---|
| Essay/coursework | 100 |
Module feedback
You will receive written feedback in line with standard University turnaround times.
Indicative reading
Rumsey, Francis. 2021. Sound and Recording: Applications and Theory. Oxford: Routledge.
Hodgson, J. 2010. A field guide to equalisation and dynamics processing on rock and electronica records. Popular music, 29 (2), pp.283–297. [Online].
Hodgson, Jay. (2019). Understanding Records, Second Edition: A Field Guide to Recording Practice. London: Bloomsbury Academic
Massey, Howard. (2000). Behind The Glass: Top Record Producers Tell How They Craft the Hits. Milwaukee: Backbeat Books.
Massey, H. (2009). Behind the glass, volume II : top record producers tell how they craft the hits. Milwaukee: Backbeat Books.
Massey, Howard. (2015). The Great British Recording Studios. Milwaukee: Hal Leonard Corporation.
Zak, Albin J., III and Zak, A. J. (2001). The Poetics of Rock. Berkeley: University of California Press. [Online]. Available at: doi:10.1525/j.ctt1ppbkt.