Course Unit Form
Course unit title:
Music and Audiovisual Technologies (Optional Course Unit)
Code of the scientific area:
Mus
Duration (annual, semester or term):
Annual
Total student workload (total hours):
260.0
Contact hours:
In-person (P) - TP-0.0; PL-30.0
% of distance-learning contact hours:
0.00%
ECTS credits:
10.0
Responsible lecturer and corresponding teaching load in the course unit:
Marco Conceição - 9.0h
Other lecturers and their teaching load in the course unit:
Learning outcomes and their compatibility with the teaching method (knowledge, skills and competences to be developed by students):
This course unit is aimed at audio producers, composers interested in electronic media, and performers using real-time electronics. It aims to provide knowledge and skills for the critical and creative use of technology in musical production, composition and performance.
O1 Identify music and audiovisual technologies, including DAWs, Audio over IP, transducers, audio processing, MIDI and synchronisers, understanding their application in different contexts
O2 Use technological tools appropriate to musical practice in the studio and live
O3 Develop competences in choosing and handling technologies for recording, production, composition and performance, integrating sound, technology and artistic expression
O4 Apply the knowledge acquired in laboratory practice, encouraging experimentation and real-time creative solutions
O5 Explore technology in the valorisation and reinterpretation of musical heritage, promoting innovative approaches
Syllabus:
P1 The audio chain, from capture to diffusion, exploring advanced transducers, specialist microphones and placement techniques P2 Preamplifiers, hybrid mixing desks and high-performance recorders, analysing their impact on signal quality P3 Signal processing, including equalisation, dynamics, effects and real-time spatialisation P4 Audio software, exploring sequencers for production and performance, advanced editors and analysis and restoration tools P5 Machine-learning algorithms applied to noise removal and spectral reconstruction P6 The evolution of audio from stereo to immersive formats, addressing channel-based audio, including surround and Dolby Atmos P7 Scene-based audio for interactive applications and object-based audio for augmented reality P8 Binaural audio and its potential in virtual and augmented reality environments
Demonstration of the coherence between the syllabus and the course unit's learning outcomes:
The syllabus is structured to ensure the acquisition of the competences defined in the learning outcomes. The introduction to the audio chain allows students to identify and understand the fundamental technologies of musical production and performance (O1). The study of audio software and signal processing provides practical tools for applying and integrating technology into musical creation (O2, O3). The approach to immersive formats broadens understanding of the technological possibilities in composition and sound spatialisation (O3, O4). Laboratory practice and contact with advanced techniques encourage real-time experimentation and creative solutions (O4). Finally, the exploration of immersive and binaural audio addresses the need for innovation in the valorisation and reinterpretation of musical heritage (O5).
Teaching and learning methodologies specific to the course unit, articulated with the pedagogical model:
The teaching and learning methodologies of this course unit are aligned with the programme's pedagogical model, favouring laboratory practice as the central axis of training. The course unit promotes direct experimentation with musical and audiovisual technologies, ensuring that students develop technical and creative competences to integrate these tools into composition, production and performance.
method: practice-based learning strategy - exploration of technological tools through laboratory activities tools - practical trials with DAWs, signal processing, spatial audio and real-time interaction students apply technical knowledge in real production and performance scenarios, developing practical mastery of the tools
method: collaborative teaching strategy - sharing of experiences between students and lecturers specialising in different areas of music technology tools - guided laboratory sessions, technical and artistic feedback, collaborative projects interaction between different specialities allows the exchange of creative approaches and technical solutions, enriching understanding of technological processes
method: applied artistic research strategy - experimentation with technological approaches to composition, performance and production tools - process documentation, recording analysis, integration of machine learning and immersive audio improvisation and critical analysis are encouraged so that students develop innovative solutions and express creativity through technology
method: problem-based learning strategy - resolving technical and creative challenges linked to the implementation of technologies in music and audiovisual work tools - simulation of production contexts, hardware/software troubleshooting, systems integration for live performance resolving technical and artistic problems reinforces students' autonomy and their capacity to adapt to different professional scenarios
Assessment:
Students may choose between three assessment formats, depending on their profile and research interests.
Short Film or Audiovisual Production – the student may present an audiovisual production or a short film lasting approximately 10–15 minutes, using electronic means. This production must reflect the approaches explored throughout the course unit, whether in composition or performance with electronics.
Electronic Composition – the student may choose to create a piece of composition using electronic means, lasting approximately 5–10 minutes. The composition must demonstrate mastery of the audio technologies explored in the course unit, such as sound synthesis, signal manipulation and immersive formats.
Real-Time Electronic Performance – the student may choose a live performance using real-time electronics, lasting approximately 10–15 minutes. The performance must integrate interaction with technology, whether through electronic instruments, live audio manipulation or immersive formats.
The work may be carried out in a group, allowing collaboration and the combination of different students' skills. After the presentation, the student must give a 15-minute oral defence, reflecting on the creative decisions and technological implementation.
Assessment will take place in two complementary stages. In the first stage, students will carry out a qualitative self-assessment, allowing critical reflection on their artistic path and the decisions taken during the process. In the second stage, quantitative assessment will be conducted by a panel of three lecturers, who will assess the technical, creative and conceptual aspects of the work presented, ensuring a rigorous process aligned with the course unit's objectives.
Students who do not pass the assessment will have the option of submitting a revised version of the assignment by 30 June.
Demonstration of the coherence between the teaching and assessment methodologies and the course unit's learning outcomes:
The teaching and assessment methodologies ensure the acquisition and application of the knowledge and competences defined in the learning outcomes. The practical and experimental approach, combined with assessment focused on creation and performance, ensures the connection between the syllabus and students' profiles.
Laboratory practice allows direct experimentation with musical and audiovisual technologies, enabling the integration of digital tools into production, composition and performance. The interaction between theory and practice stimulates creative autonomy and technological innovation.
O1, which aims at identifying and understanding musical and audiovisual technologies, is sustained by practice-based learning (M1). Laboratory sessions explore DAWs, signal processing and immersive audio, ensuring technical mastery.
O2, which involves the use of technological tools in the studio and live, is worked on through problem-based learning (M4). Simulating real scenarios encourages the application of technologies and the resolution of technical challenges.
O3, which promotes the choice and handling of technologies for recording, production and performance, is developed through collaborative teaching (M2). Contact with specialist lecturers and the exchange of experiences between students reinforce technical and artistic decision-making capacity.
O4, which stimulates real-time experimentation and creative solutions, is strengthened by applied artistic research (M3). Recording and analysing creative processes encourage critical reflection and innovation in integrating technology and artistic expression.
O5, which explores technology in the valorisation and reinterpretation of musical heritage, is achieved through experimentation with immersive formats and spatial audio, promoting new approaches to creation and performance.
Assessment reflects the diversity of technological and creative approaches:
short film or audiovisual production - assesses the integration of sound and image in multimedia compositions, demonstrating knowledge of editing and sound design (O1, O3, O5) electronic composition - demonstrates mastery of digital audio technologies, sound synthesis and signal manipulation, applying knowledge in musical creation (O2, O3, O4) real-time electronic performance - demonstrates the interaction between performer and technology, testing the adaptation of digital tools to live performance (O2, O4)
After the presentation, the student gives a 15-minute oral defence, analysing creative decisions and technological implementation, ensuring reflection on the artistic and technical path (O3, O4, O5).
Assessment combines a qualitative component, based on self-assessment, and a quantitative component, conducted by a panel of lecturers, ensuring rigour in appraising the technical, creative and conceptual aspects.
Bibliography (recommended/compulsory reading):
Collins, K., Kapralos, B., & Tessler, H. (Eds.). (2014). The Oxford handbook of interactive audio. Oxford University Press. Cobussen, M., Meelberg, V., & Truax, B. (Eds.). (2016). The Routledge companion to sounding art. Routledge. Herrero, M. H. (2024). Música y arqueología de los medios. Orígenes de la banda sonora. Shangrila. Roginska, A., & Geluso, P. (Eds.). (2017). Immersive sound: The art and science of binaural and multi-channel audio. Routledge. Sexton, J. (Ed.). (2007). Music, sound and multimedia: From the live to the virtual. Edinburgh University Press. International Conference on New Interfaces for Musical Expression. (n.d.). NIME proceedings. Available at https://www.nime.org/ Organised Sound. (n.d.). Organised sound: An international journal of music technology. Available at https://www.cambridge.org/core/journals/organised-sound
Remarks:
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