成人大片

1. To enable students to identify, analyse and compare understandings and approaches in interaction design and the sonic arts.
2. To equip students with knowledge and skills needed to plan and develop creative practical works in the field of interaction design and the sonic arts.
3. To develop students learning processes and reflexive skill set with regard to future practice, thus enabling students to adapt to the ever expanding and rapidly changing area of sonic arts and related areas of computer music.

Hardware

• USB Stick or portable hard drive with enough capacity to store files associated with the course and formatted as Apple OSX HFS+.
• Stereo headphones with a 6.5mm male adaptor.
• Note – students must bring both their USB storage and Headphones (with adaptor) to university, as they are required for various classes and for using laboratories and studios.

Sound Levels & Hearing Protection

This course may require using spaces where a dB meter has been installed. If you exceed the set dB limit for the space, the lights will flash.  Students found exceeding these levels will have their booking privileges revoked for two weeks, and repeat offenders may have their booking privileges revoked for the remainder of the academic year.

In order to minimise risk in noise-prone situations, the Conservatorium makes both reusable gel ear-plugs and disposable foam ear-plugs available to students and staff free of charge at all times. Students and staff are also urged to consider purchase of customised personal hearing protection.

For more information regarding sound levels, hearing and hearing loss please refer both to the full content of the O'Brien Report and to the excellent publication by Canadian audiologist/academic Marshall Chasin, entitled Hear the Music: Hearing Loss Prevention for Musicians both available here:

• Cook, P. R. (2002). Real sound synthesis for interactive applications. Natick, Mass., AK Peters.
• Cooper, A., R. Reimann, et al. (2007). About face 3 : the essentials of interaction design. Indianapolis, IN, Wiley Pub.
• Farnell, A. (2010). Designing sound. Cambridge, Mass., MIT Press.
• LaBelle, B. (2006). Background noise : perspectives on sound art. New York, Continuum International.
• Manzo, V. J. (2011). Max/MSP/Jitter for music educators : a practical guide to developing interactive music systems. New York, Oxford University Press.
• Miranda, E. R., J. A. Biles, et al. (2007). Evolutionary Computer Music. London, Springer.
• Moggridge, B. (2007). Designing interactions. Cambridge, Mass., MIT Press.
• Murray, J. H. (2012). Inventing the medium : principles of interaction design as a cultural practice. Cambridge, Mass. ; London, MIT Press.
• Noble, J. J. (2009). Programming interactivity : a designer's guide to processing, Arduino, and openFrameworks. Beijing ; Cambridge [Mass.], O'Reilly.
• O'Sullivan, D. and T. Igoe Physical computing sensing and controlling the physical world with computers. Boston, Thomson.
• Roads, C. (1996). The computer music tutorial. Cambridge, Mass., MIT Press.
• Schroeder, F. (2009). Performing technology : user content and the new digital media : insights from the two thousand + nine symposium. Newcastle, Cambridge Scholars.
• Selfridge-Field, E. (1997). Beyond MIDI : the handbook of musical codes. Cambridge, Mass., MIT Press.
• Miranda, E. R. and M. M. Wanderley (2006). New digital musical instruments : control and interaction beyond the keyboard. Middleton, Wis., A-R Editions.
• Chatzichristodoulou, M., J. Jefferies, et al. (2009). Interfaces of performance. Farnham, Surrey ; Burlington, Vt., Ashgate.
• Dean, R. T. (2009). The Oxford handbook of computer music. Oxford ; New York, Oxford University Press.
• Saffer, D. (2010). Designing for interaction : creating innovative applications and devices. Berkeley, Calif.London, New Riders ; Pearson Education [distributor].

• NIME. (2017). "NIME: Archive of NIME Proceedings". Retrieved 16 December, 2017, from . 
• Kirn, P. (2012). "Create Digital Music." Retrieved 16 January, 2012, from . 

MyUni is a crucial part of this course and will provide students with access to assessment and learning materials, such as quizzes, discussion boards, slide presentations, readings, links, sound and video. Materials will be provided on a topic-by-topic basis over the semester: .

The course structure and content is delivered through a range of classes and materials. The classes in this course consist of lectures, tutorials and workshops.

Lecture

• Lectures will deliver a specific topic each week. The topic will consist of ideas and concepts; technologies; and creative practitioners in the field.

Tutorial

• Tutorials provide an opportunity to discuss and ask questions about the weekly lecture and topic for the course; reinforce concepts and ideas from the lecture and explore new territory.
• Students are required to complete the weekly reading before their tutorial; come to the tutorial with questions and thoughts on the reading; and be prepared to actively engage in discussion on the weekly topic and reading.

Workshop

• Students are required to complete 1-hour of preparatory work which may include readings, watching videos, listening to sound and musical examples, preparing work or completing short exercise. This is a mandatory requirement.
• Workshops will explore a wide range of practical aspects of the course and its associated topics and concepts.
• Students will be set regular practical tasks as part of their portfolio assessment and be required to present their work during the workshop.
• Although workshops will from time to time contain presentations from the instructor, the workshop will largely be an opportunity for students to obtain assistance with their practical and creative development and practice. Students need to actively and on a week-by-week basis maintain their practical and creative development, using the workshop to raise issues and solve problems.
• Finally, the workshops provide a forum by which students can begin to explore their own ideas and practice using lecture and tutorial materials as inspiration and points of departure.

This course consists of up to 48 hours of direct contact or structured non-contact - 4 hours per week over 12 weeks for the seminars and workshops, where students will play an active role in the practice, refinement, consolidation and extension of their knowledge and understanding. In addition students will spend a minimum of 108 non-contact hours over the duration of the course on self-initiated learning and research, reading, writing, practice and assessment in order to pass the course, making the minimum workload 156 hours.

In order to be relevant, contemporary and up-to-date, this course uses a reflexive ‘just-in-time’ organisation that adjusts its structure and delivery according to the most current changes in the field, lecture-centred research practice and peer-student interest. The structure of the course is broken down into three sections. Each section consists of a number of weeks dedicated to the section topic and more specific sub-topics that vary according to changes in the field. Each of the topics is supported by theory and practice through lectures, tutorials and workshops. More information about the format of the classes can be found in the section “LEARNING AND TEACHING MODES”.

This section broadly examines the field through subtopics such as: the history of performance interfaces; the field of interaction design, the sonic arts and the intersection between the two; key technologies, concepts and issues.

This section compartmentalises the field into a number of broad creative and technical areas that will be examined and assessed through subtopics such as: virtual reality, augmented reality, hyper-instrumentation, wearable technology, ubiquitous computing, interactive improvisation and composition, interface technologies, reactive / augmented / network music, mobility, machine listening.

This section examines specific and current example/s and trends in interaction design and the sonic arts by dissecting the example through the theory, practice and creative methods and samples presented in the previous sections.

EMU Facilities Access Provisions

This course will involve using the resources of the . This includes facilities such as studios, recording spaces and digital audio workstations. 

In order for students to complete the course they must gain ongoing and permanent access to EMU. Access and use of EMU is based upon  completing the EMU Access Test. More information can be found here:  (university login required).

Other Expectations

Except where otherwise indicated by the lecturer, tutor or workshop instructor – mobile phones, laptops, PDAs, recording devices and other similar technology must be switched off before lessons or classes begin, and kept off for the duration .

The 成人大片 has committed to a pedagogical approach that incorporates several aspects of scholarship. A key component of the Beacon of Enlightenment strategic pedagogical approach is that all students commencing in 2014 will experience a "Small-Group Discovery Experience" (or SGDE for short) in at least one course in every year of their degree program.

The Core Concepts upon which the SGDE pedagogical approach is based include goals that students will discover (or rediscover) learning as Intellectual Challenge, and develop a Scholarship of Discovery to inspire them toward learning and lifelong learning.

To accomplish this learning journey, students will develop research skills, and learning and teaching delivery modes used will require students to engage actively with their discipline content. This active learning process will engender a commitment to knowledge for its own sake, and consequently learning to follow an investigation, in a disciplined fashion, wherever it may lead.

Due Dates:
Specific information regarding due dates is provided on myUni.

Formative Assessment:
Classes will contain embedded formative assessment tasks that may include student presentations, discussions, practical exercises, demonstrations and out-of-class work that will enable students to engage with the practical and theoretical concepts presented in order to complete their summative assessments.

Hurdle Assessment

All students must complete the requirements under “SPECIFIC COURSE REQUIREMENTS ‘EMU Facilities Access Provisions’”. Students who fail complete these items have failed the course.

Assessments

All students must complete and submit all assessments. If a student fails to complete and submit all assessments by the due date and fails to produce the appropriate medical or compassionate certificates, the student may be deemed to have failed that course, irrespective of assignments previously completed. Further, the student will be deemed ineligible for supplementary assessments. Students should consult their respective lecturer, tutor or demonstrator for further information.

Attendance Expectation & Penalty

Students are expected to attend all classes. If a student fails to attend at least 70% of tutorials or workshops in a course and fails to produce the appropriate medical or compassionate certificates, the student is deemed to have failed that course, irrespective of assignments previously completed. Students who arrive 10 minutes or later after the start of a class will be marked as absent.

Leave

Extenuating circumstances may occasionally affect a student’s ability to participate in a rehearsal, workshop, class, lecture, tutorial or performance.  In such cases leave may, upon application using the leave form (available from the Music Office), be approved by the relevant staff member (this could be the Head of Studies, teacher, conductor, lecturer or course coordinator as appropriate). Types of leave include: sick leave; compassionate leave; and professional development leave.

Refer to “ASSESSMENT SUMMARY”

Assessments and Exams

Students must be available during the identified University teaching, academic and examination periods. Students are not entitled to sit an examination or submit an assessment at another time, nor are they entitled to any other concessions if an examination or assessment conflicts with a planned vacation or special event. Results from assessments and examinations are usually sent to students via email and/or myUni.

Late Submission

Assignments where late submissions are permitted and that are submitted after the due date and time will incur a 2% penalty (from the assignment total of 100%) per day (24 hour period) for a maximum of 7 days (including weekends and public holidays ). 

• an assignment that is 3 days late: raw score of 80% - 6 marks lateness deduction = 74% final mark.

• typically this does not apply to assessments where the assessment is conducted at a fixed time and location, such as an exam, workshop, practical test, performance or presentation – please refer to the individual assessments for further information.
• for work with a formal extension, these penalties will apply from the extended due date.

Cut-off date

There will be a cut-off date for each assignment 7 days (including weekends and public holidays) after the original due date unless otherwise stipulated on MyUni. Work will not be accepted after the cut-off date, and a mark of zero will automatically be awarded for the assignment.