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1. To provide students with new understandings and exploratory approaches in sonic arts practice and sound design.
2. To equip students with knowledge and develop new artistic and technical skills in sound creation and design in the field of computer games.
3. To develop students research processes and a 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 sound design for games.

• USB Stick or portable hard drive with enough capacity to store files associated with the course and formatted as "exFAT" to provide suitable compatability between MacOS and Windows.
• Stereo headphones with a 6.5mm male adaptor. Recommended Type: Closed-Back, Over-the-Ear  Headphones.
• Note – students must bring both their USB storage and Headphones (with adaptor) to university, as they are required for various classes, completing exercises and for using laboratories and studios.

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: 

Websites

• McDonald, Glenn. 2002, A brief timeline of Video Game Music, 2007, <>.

• Film Sound - Game Audio, 2007, <>.

• Unreal Engine, 2007, 2006, <>.
• Game engine, 2007, 2007, <>.
• Directory of Game Middleware Solutions, 2007, <>.
• fmod - music and sound effects system, 2006, 2006, <>.
• GarageGames, 2007, 2006, <>.
• The Elder Scrolls IV: Oblivion, 2007, 2006, <>.
• Torque Game Engine, 2007, 2006, <>.

• Video game music, 2007, 2007, <>.
• List of video game musicians, Wikipedia, 2006, <>.

• Game Audio Network Guild, 2007, <>.
• Interactive Audio Special Interest Group, 2007, <>.
• Game Sound, 2007, <>.
• Gamasutra - Features / Audio, 2007, <>.
• Gamesssound.com, 2007, 2007, <>.
• Game Developer's Conference - Audio Track, 2007, <>.
• Game Developer Magazine, 2007, <>.

• Hague, James. 2002, Halcyon Days, 2007, <>.

• Boer, James. 2002, Game Audio Programming (Advances in Computer Graphics and Game Development Series), Charles River Media.
• Brandon, Alexander. 2005, Audio for games: planning, process, and production, New Riders Games, Berkeley, Calif.
• Bridgett, R. "From the Shadows of Film Sound: Cinematic Production and Creative Process in Video Game Audio." collected publications 2000-2010, 2010.
• Carter, Ben. 2004, The Game Asset Pipeline, Charles River Media.
• Childs, G. W. 2006, Creating Music and Sound for Games, Thomson Course Technology.
• Chion, Michel, Murch, Walter & Gorbman, Claudia. 1994, [Audio-vision. English] Audio-vision: sound on screen, Columbia University Press, New York.
• Collins, Karen. From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Ebk). Ashgate Publishing, 2011.
• Collins, Karen. Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design. The MIT Press, 2008.
• Collins, Karen. Playing with Sound: A Theory of Interacting with Sound and Music in Video Games. The MIT Press, 2013. *
• Irish, Dan. 2005, The Game Producer's Handbook, Course Technology PTR.
• Marks, Aaron. 2001, The Complete Guide to Game Audio: For Composers, Musicians, Sound Designers, and Game Developers CMP Books; Pap/Cdr edition.
• McCuskey, Mason. 2003, Beginning Game Audio Programming, Muska & Lipman/Premier-Trade; 1 edition.
• Mott, Robert L. 1990, Sound effects : radio, TV, and film, Focal Press, Boston.
• Sanger, George Alistair. 2004, The Fat Man on game audio : tasty morsels of sonic goodness, New Riders, Indianapolis, Ind. ; London. 
• Sonnenschein, David. 2001, Sound design : the expressive power of music, voice, and sound effects in cinema, Michael Wiese Productions, Seattle, Wash.

• Students can listen to musical works through the library's Naxos subscription (see library catalogue, search using Naxos as the title and limit search to ‘electronic resources’. You will be prompted to enter your uni ID number and password to access the Naxos catalogue). There is a wealth of material available for listening (but not downloading). The link to the Naxos catalogue is as follows: 

• The Music Library located in the Hartley building is an excellent source for music, literature and recordings:

• Bibliography and references are to be cited according to the Music Referencing Guide: 

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.

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

• 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.

• 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.

Further, students will be presented with additional theoretical and/or practical materials. The materials expand on the topic and compliment, reinforce and extend the concepts presented.

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.

• History of Game Sound
• Game Sound Analysis
• Logistics, Process and Planning
• Game Technology Overview
• Game Sound Technology including Sound Engines, Middleware and Formats
• Sound Design and Creation
• Asset Management and Production
• Game Sound Types - Ambience, Music, Voice, Effects
• Mixing and Integration

This course will involve using the resources of the Electronic Music Unit (EMU). 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:

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.

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

Students are expected to attend all classes. If a student fails to attend at least 70% of tutorials or workshops in a course the student may be deemed to have failed that course, irrespective of assessments completed. Students who arrive 10 minutes or later after the start of a class will be marked as absent.

Extenuating circumstances may occasionally affect a student’s ability to participate in a rehearsal, workshop, class, lecture, tutorial or performance. In such cases a student should email their course coordinator regarding the circumstances within 7 days and include the following information:

• Type of Leave: Sick Leave, Compassionate Leave or Professional Development Leave
• Student Name
• Student ID
• Dates of Leave
• Total Number of Days
• Reason for Absence
• Supporting Documentation (e.g. medical certicificate, counsellor note etc)

Refer to “ASSESSMENT SUMMARY”

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.

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.

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.