S.11-34
MEMO

S.11-34

OFFICE

THE ASSOCIATE VICE-PRESIDENT, ACADEMIC AND

ASSOC

IAT

PROV

OST

MEMORANOUM

AITENTION

FROM

8888 University

Dri

ve,

Burnaby,

Canada V

\ 1

nat

Bill

Krane,

hair

TEL: 778

782.4636

2.58

DATE

PAGES

Senate Co

nunitt

ergrad

nldie

avpcio

@sf

\vww.sfu.ca/

vpacademic

February

2011

1/1

RE:

Faculty

of Co

mmuni

catio

, A

rt and

Tec

ogy (SCUS

11)

For information:

Acting under

del

ega

ted

authority at

tin

g of Fe

bru

ary 3,

2011,

SCUS

approved

followin

urriculum

revis

ons effective Fall

2011:

of Com

muni

(SCUS

(a) Ne

urse Prop

osa

357

udio

Media

naly

(b)

etio

of CIvINS

472 and

474

Int

erac

ve A

and

Tec

ogy

(SCUS

(a)

han

ge to

e A

dditi

nal R

quir

s sec

for

(lY

or,

Honours) BSc

(lv

jor,

Senators wishing to consult a more detailed report of curriculum revisions may do so

on the Web

http://www

sfu.ca/senate/Senateagenda.html

follmving the posting

of the

agenda.

you are unable to access the information, please call 778-782-3168 or

emai

shelleygair@sfu.ca

rRA

UNIVERSITY

THINK

THE WORLD

MEMO

Office of t

Dean

TASC28800

8888

Univcrsiry Drive

13urnlby

VSA

156

T 778-i82

8790

778-782-8789

w\Vw.fc

fc:tt

fo@sfLl.Cl

SCUS

ll-lla(i)

ULTY OF COMMU

ION

ART ANO

CHNOLOGY

TO:

Bill Krane, Chair

Sena

e Comm

itt

ee on

Undergraduate

Studies

FROM:

Kugler,

RE:

DATE

Facu

y of Comm

uni

cation

Art

nd T

hno

ogy

Undergraduate

rri

ulum

mmitt

New

Course:

CMNS 357

Aud

o Media

anuary 20, 20

On October

Fac

ult

y of Communication,

and

Technolog

ergrad

Curric

ulum

Committee approved

owing curr

revi

ion

passed

the

Commun

cat

ion

UCC

bruary

10:

•

New

Prop

osa

CMNS

357:

Media

nal

Would

you

ease p

ace

tem on

the

agenda

of t

e next

eet

SCUS?

DK:sam

Att.

Digitally

gned by DO

Kugler

ON: cn"OD

Kugle

o.au,

emall

ddkugl

er@ls

fu.ca.

Oatl':2011.01.241459:10

-OS

'OI)'

SIMON I

EIt

N1V\:It

or Tllr

If/

Urll!"

CqlentIgr lafqrmgtion;

SIMON FRASEI UmYlRllTY

NEW COURSE PROPbSAL

Course Number:

CMNS

357

CreditHours:

Course Title:

AIUIio MedillAnqlysis

Course Description (for Calendar).

&lHIl

a course oudine to tbis proposal.

This course provides an intenaitJe analysis of the design andfimction of audio in all forms of eJectroacoustic

media,

including

both

historical

analog

and

contemporary

digillll

forms

communication.

This

survey

cowse

gives speciftc attention to sound design in film, television, radio. advertising, gaming. online and other types of.

media

8OIl1IdJracks.

The

structure

broadco.ft

media

considered

well

surrogate

listening

environments,

the SON recording Q8 document. patterns antijunctlo1l8 of electroacoustic media usage in

daily

life,

and

altNrtaIive

fI8e8

of audio media.

The

format o/the course will be seminars with accompanying labs in order to

cover both

the

theoretical and applied aspects o/medla analysis.

Prerequisite(s): _ CMNS 258-3 or CMNS 226-3 or equivalent introductory media course

~ith

pemiissioD

the

instructor.

Co-requisite(s) (if any): __ nla. _______________ _

SpeciailDstructions (if any):

_nla~

______________ _

Course(s)

to be dropped if

this course

approved (if any):

none

Ratlonale/Or

Introduction o/this Course: WiU this be a required or elBctWe corne In the curriculum? Probable'

enrolment

when

offered?

This course complements the existing courses In acoustic communication (CMNS

358,

CMNS

359)

wUh

emphasis on sound

media (film, tv, radio. online, gaming, adv.ertislng, mobile). The course encourages

atuden18 from

CMNS and

other

unI#

to examine both tits theoretical and applied aspects of sound media. It will

be an elective course in the curriculum.

It has

been taught

successfully

times as a Special Topics course (CMNS

386-4)

by David Murphy and/or

Barry

Trua¥,

with enrollments 0//1-13 (Spring 2008, Spring 2009, and Spring 2010). We anticipate

enroUments o/between 15-20 students each time offered In the future.

Scheduling

and

Registration Information. Indicate semester and year this course would

first offered and planned

ftequency of offering thereafter.

Spring

2010,

and

yearly

thereafter.

Which of

your

present CFL faculty have the expertise

offer tbis course? Will the course be taught

sessional or

limited-term instructors? [list at least 2

~ul~

members]

It wUl be taught

CFL Faculty members. such as David Murphy

and

Btl11'Y

7ruar ..

Unless both were on Study Leave. we would not anticipate

would be taught

Sessional or Limited-Term

Imtructors.

Are there any proposed student fees associated

with this

course other than tuition fees?

none

Does

this

course duplicate the content of a previously approved course to such an extent that students should not receive

credit for both courses? Ifso, please specify.

CMNS

386-4 -

taken in /081. 109/, or 110/ with Profs.

Barry

Truax or David Murphy.

E.ectly. datt:

Fall ZOll

_ ... 2

page2of2

CMNS 357-4

ResoD"' IptpUgtlODl;

Note: Senate

has

approved (S.93-11) that no new course should be approved by Senate until funding

bas been

committed for necessary library materials. Each new course proposal must

accompanied by a library report and,

appropriate,

confirmation

that

funding

arrangements

have

been

addressed.

Provide details on how existing instructional resources will be redistributed to accommodate this new course. For

instance, will

another course

be eliminated or will the frequency of offering of other courses

reduced; are there

changes in pedagogical style or class sizes that allow for this additional course offering. '

Th/8 coune extsnds the use of existing lab space and resources. The scheduling of this course is designed to

maximize the student use of existing lab space.

Does dlis

course tequire specialized space or equipment not readily available

the department or university t and if SOt

how will these resources be provided?

TIts speciaJfz!uI

space

and

equipment requiredfor this cOIII'Se

readily avaUable

the School of

Commrmlcallon

Does

this

course

require

computing

resources?

(e.g.

hardware.

software,

network

wiring.

use

computer

laboratory'

space) and

if so,

describe how they will

provided.

The computing resources required in this course are provided

using existing bifrastructure in the School

Communication

CMNS Undergrad

Curri~um

Committee (date)

J;._A--r\--...;;..~~_+I_U)

' 'l __ _

~c-.-~~

AlIson

Beale,

Director,

School of Communication

Kugler, Chair,

Faculty

Communication,

Art

Technology.

Undergraduate

Curriculum

Commiuee

date

Chair

SCUS

CouneNUlllber:

CMNS357

New pod.,...,.!!, Coune Approyal Coyer ,beet

to be attadacd to New Coune Proposal Form

Creclfts:

Counentle:

Audio Media Anqlysis

DeptJSebooI* approvallndicates

that the

Dept.ISchooI bas approved

the

content of

the

course, and has consulted with other

Depts.

and

Faculties

regarding

course content and overlap issues.

Lilt

which other Departments and Faculties have been consulted regarding

the

proposed course content including overlap issues?

Attm:h

titJcumellllll'y evidsna. of

1YISP01lllS,.

Depts.!facutties

consulted

School

for the

COIIfeIDponry Arts

SlAT

ColJl'Bl

groved

DepanmentIScbool

CUJTicu1um

Commjttee

(Committee

C~aJr);

Co!m!e

8IQIOVCd

~.~

=:&iIIDimctor);

Date:

Signature:

c.--.

Date:

Depts.IFACUlty

appmyaVdiR'8'JSDGDt

approved

2. Rome Facalty* approval indicates

that

aU necessary course content

and

overlap concerns have been resolved,

and that the

FacultylDept.JSchool

commi1s

providing

the

required

Library

ftmds.

Dlgltalyslgnod

~DO

JCugIcr

ianafll1'll"'.

'"00-'" __

__--8mIUvtkftqro'eresf.'o

DN:cn-DOKugkr.o,ou.

a<&

Date:

2011.01.241~1:24-o8'OO'

Date:

Any outstanding resource issues to be addressed prior to implementation:

space.

laboratory equipment, etc.

siPaturc:

-i£.

Date: .

Other lI'aeulties approval indicates that the Dean(s) or deslgnate(s) of other Faculties

by the

proposed new course support(s)

the approval oftbe DOW course •.

signature:

Date:

Signature:

Date:

3. SCUS

~proval

indicates

1hat

the course has

beeo

approved for implementation subject, where appropriate, to

financial issues

being

addressed.

Course appmyed by SCUS <Chair of

seUS);

Signature:

Date:

1m"", Iy waived by

scus CCbair ofSCUs):

Signature:

Date:

8IUlual

report of

all

new course approvals will be generated

SCUS and sent to

all

DeptsJSchoolsl Faculties for information.

executive

summary

oftbe annual report

wDl

be pn:pared for 1he information ofSenatc.

Approval .. IIpltlecl by date and appropriate signature.

• Non-departmcntali Faculties would complete both sections 1 and 2.

SCHOOL QF COMMUNICATION

CMNS357-4

AUDIO

MEDIA

ANALYSIS

Burnaby Day

Prereqpisltes: CMNS 258-3 or CMNS 226-3 or equivalent introductory media course with permission

the Instructor.

This course provides an intensive analysis of the design and function,of audio in all forms of

electroacoustic

media,

including

both

historical

analog

and

contemporary

digital

forms

communication. Specific attention, will

given to sound design in film, television, radio, advertising,

gaming, online and other

types

of media soundtracks. The structure

broadcast media considered as

well as surrogate listening environments, the sound

recording

as document, patterns and functions

electroacoustic media usage

daily life, and alternative uses of audio media.

The format of the course wiD be seminarllab in order to cover both the theoretical and applied aspects of

media analysis. Student work will consist of (1) a media use audit of aspects of the student's media

consumption patterns; (2) an essay based on course texts and other literature; (3) an applied analysis

project

with a choice of written, audio or video documentary formats. Students wishing

use

audio/video fonnat for project 3 should have some previous production experience.

Regpired Texts:

B. Truax,

Acoustic Communication,

2nd ed., Ablex, 2001. (QC 225.15 TI8)

Recommended

Texts:

A variety

books

and articles will be available on Ubrary reserve or as .pdf

r.l~

Grading:

Your grade Will be

based

solely on the projects you complete. These will consist

of:

Media use audit

Research

essay

Applied

analysis

project

The School expects that the grades awarded in this course will bear some reasonable relation to established

university-wide practices with

respect

to both

l~vels

and distribution

grades. In addition, the School will

follow Policy TIO.()2 with respect

"Intellectual Honesty"

and

"Academic Discipline" (see the current Calendar,

General

Regulations

section).

CMNS3&7-4

AUDIO MEDIA ANAL VSIS

Course Syllabus

Webaltes:

http://www.sfu.calmedla-lab/archlveI201

0~86

http://www.sfu.caIsonlc-stU(tlolhandbook

Seminar:

Thursday. 10:30 -12:20

pm,

TASC2.7460.

Thursday. 1:30 - 3:20

pm,

TASC2.7460.

Lab:

Text:

B. Truax.

Acoustic Communication.

2nd ed .• Ablex. 2001. (QC

22~.15

T7S)

References:

R. Albnan,

ed.

Sound Theory, Sound Practice,

Routledge, 1992. (PN 1995.7 S69 1992)

l. Attall,

Noise (The Political Economy of Music),

The Unlv. of Mlnnesotc! Press, 1985. (ML 3795

A913)

M. Ayers,

eel.

Cybersounds: Essays

Virtual Music Culture,

Peter Lang, 2006. (ML 3918 P67 C93

2006)

B. Blesser,

Spaces Speak,

Are

You Ustenlng? Experlendng Aural Architecture,

MIT Press, 2007. (QP

443 8585 2007)

M. Bull,

SOunding out the city: Personal stereos and the management of everyday life,

Oxford,

2000. (T

14.5

885 2000)

M. Chanan,

Repeated Takes: A short history

recording and Its effects

music,

Verso, 1995.

D. De Kerckhove,

The skin of culture: Investigating the new electronic reality,

Somerville House,

1995.

96 T42 0454 1995)

S. Douglas,

Ustenlng In: Radio and

the

American Imagination,

Times Books, 1999. (HE 8698 068

1999)

P. Doyle,

Echo and Reverb: Fabricating Space In Popular M':lslc Recording,

1.900-1.9~O,

Wesleyan

University Press, 2005. (ML 3470069 2005)

Gay et

al.,

Doing Cultural Studies: The Story of the Sony Walkman,

Sage Publications, 1997.

(TK

7881.6 065 1997)

Eisenberg,

The recording angel: music, records and culture from Aristotle

Zappa,

Yale

University Press, 2005. (ML 1055 E35 2005)

P. Fornatale

8c. J.

Mills,

Radio In the Television Age,

Overlook Press, 1980. (PN 1991.3 U6 F6)

Kahn.

Whitehead,

Wireless Imagination: Sound, radio, and the avant-garde,

MIT Press,

1992. (NX 650 S68 W57 1992)

Katz,

capturing Sound

How Technology Has Changed MUSic,

University of california Press,

2004. (ML 3790 K277 2004) • CO

E. Pease &. E. Demils, eels. Radio: The Forgotten Medium, Transaction Publishers, 1995. (PN 1991.6

R241995)

T. Schwartz,

The Responsive Chord,

Anchor Press, 1973. (HM 258 532)

Sterne,

The Audible Past: Cultural Origins of Sound Reproduction,

Duke University Press, 2003.

(TK 7881.4 5733 2003)

Symes,

Setting

the

Record

Straight,

Wesleyan University Press, 2004. (ML 3790 S97 2004)

T. Taylor,

Strange Sounds: MUSic, Technology, and Culture,

Routledge, 2001. (ML 1380. T38 2001)

P. Theberge,

Any Sound You Can Imagine,

Wesleyan University Press, 1997. (ML 1092 T38 1997)

E. Thompson,

The Soundscape of

Mod~rnlty,

MIT Press, 2002. (NA 2800 T48 2002)

A. Williams,

Portable Music and Its Functions,

Peter Lang, 2007. (ML 3830 W545 2007)

Wurtzler,

Electric Sounds: Technological Change and the Rise .of Corporate Mass Media,

Columbia University Press, 2007. (P 96 T422 U639 2007)

ProJects:

Student work

will

consist of a media use audit, an essay and an applied project on any topic

In the field of audio media analysis. A verbal report on one of these topics Is expected during the

final seminar. The essay and project are expected to be written up as

substantial report (approx.

15 pages or 4000 words). The essay will discuss the course readings, supplemented by library or

other research on a particular topic, and the project

will

be an applied analysis. Each topic should

allow you

apply a communicational model, based on the course texts, to a specific media issue

or media context. More details on these projects are found below. Grading will be by letter grade

average

of the three projects weighted as follows:

~eclla

Use Audit (20%) due Jan. 28;

Essay

(40

/0)

due March 04; PrQject

(40

0/0)

due April 15

A 2 page outline of

the

essay and project must also be submitted as follows:

Essay outline (topiC, section headings

summary, references) February 11

Project

outline (goal, methodology, analysis method, product description) March 25

The School expects that the grades awarded In this course will bear some reasonable relation to established

university-wide

practices to b9th levels and distribution of grades. In addition, the School will also follow

Policy

T10.02

with respect

to "Intellectual Honesty, It and "Academic Discipline" (see the current calendar, General Regulations

SectIon).

Detailed

Project Descriptions:

Media Use Audit:

Following the approach outlined by Table 1 in

Acoustic Communication

(p.172), monitor your exposure to

audio media (I.e. reproduced sound) on one weekday and one weekend day (or any other two days where

your routine differs). Estimate the number of minutes you hear reprodl:lced sound via each method of

audio delivery (e.g. radio, television, film, video, Internet, telephone/cell phone, IPod, background music

etc).

Oasslty

~ch

exposure.as Uself' (I.e. sound you choose to listen to) or "other" (I.e. sound that is

overheard).

In your report, discuss topics such as the style or content of each category of sound, the

functions

It serves for you personally, how It (re)structures spatial, temporal and social relationships, as

well as 'any other aspect of your COl1sumption and exposure you find Interesting. Compare your results to

those In

AC,

keeping in mind that the quoted student data was largely from a pre-digital era. Length of

the report Is variable, but not to exceed 10 pages (I.e. 2500 words) excluding your raw data which you

should

Indude as an Appendix.

Research Essay:

The essay

a literature based research paper th_t explores a specific topiC, Issue or medium of.

electroacoustlc sound communication. The

theme

will

most likely follow one of the weeldy seminar topics

and

will be based on Its readings, pl'Us others listed In the course outline and made available In print or

electronic form. Web resources may be used to supplement, but not replace the course readings. Other

print resources will likely be found In the references in the readings. All resource material needs to be

proper1y cited at the end of the essay, and all quotations should be properly attributed. Although the

choice of spedflc topic and the way you approach It Is open-ended; your paper should Include a discussion

of (1) communication or other

theory;

(2) historical background of the technology and Its sodal-cultural

role;

(3) references to all of the relevant course readings; (4) a critical evaluation of the electroacoustic

medium

In queStion, and speculations on Its future development where appropriate. The essay otltllne

sub~ltted

first will

considered as worth 20% of the final grade for the essay.

Applied Project:

You will design an applied analysis of any electroacoustlc medium or Its usage. This may consist of your

own analysis of audio examples, or media usage I;)y groups of subjects (for which permiSSion forms must

be collected). Other topics must be approved by the Instructor. Where you already have studio production

experlence~

you may substitute a video or audio report for the written one, or else some combination

thereof. The project outline

submitted

first will

be considered as worth

20°/0

of the flnal grade for the

project.

April 08

. Student Project Reports

Students will

expected to give a short

(10-lS,)

report on one of their semester projects.

Seminar Topics and Readings:

Note: All Readings are to be done for the date listed. AC refers to

Acoustic Communication,

2nd edition.

Assigned

www

.sfy.ca/medla-lab/archlye/2009/386/

DIIll

7 Jan.

Introduction" Organization

14 dan.

Electroacoustic Models

AC: chapter 8

du Gay et al.,

Doing Cultural Studies: The Story of the Sony Walkman,

Sage Publications, 1997.

Chi

~Maklng

Sense of the Walkman"

H. Westerkamp, RUstenlng and Soundmaklng: A Study of Muslc-as-Envlronment,. In

Lander &

. M. Lexler, eds.

Sound by Artists,

Art Metropole at Walter Phillips Gallery, 1990.

E. Thompson,

The Soundscape

Modernity,

MIT

Press,

2002.

Chi

"Electroacoustics and Modern

Sound,

1900-1933"

References:

P. Theberge, .Counterpolnt: Glenn Gould & Marshall McLuhan,

Canadian Journal of Soc/al &

PO"~cal7heor.v,

10(1-2), 1986.

R. L

ca~lnell,

RMusic In Industry,

In Schullian

Schoen, eds.,

Music and Medicine, 1948.

1. Sterne, "Sounds Uke the Mall of America: Programmeci MuSic and the Architectonics of

Commercial Space,R

Ethnomuslcalogy,

41(1),

1997,

22-50.

21 Jan.

The Listener as Consumer

AC:

chapter 10'

H. Mendelsohn, "Ustenlng to RadiO, n In Dexter &. White, eds.

~eople,

Society and Mass

Communication,

1964.

M. Bull,

Sounding Out the City: Personal Stereos and the Management

Everyday Ufe.

Oxford,

2000.

Chi

"Reconfigurlng the Site and Horizon of Experience"

. .

M. Bull, "Investigating the Culture of Mobile Ustenlng: From Walkman to IPod,

In K. O'Hara & B.

Brown, eds.

Consuming Music Together,

Spring

2006.

References:

M. Bull,

Sounding Out the City: Personal

Stereos

and the Management of Everyday Ufe.

Oxford,

. 2000. Chi

11 "Technology and the Management of Everyday Life"

M. Bull, "The World According to Sound: Investigating the World of Walkman Users,"

New Media

. and SOCiety,

vol.

3(2),

179-197,

2001.

Chambers, "A Miniature History of the Walkman,"

New Formations,

no.

11, 1990, 1-4

A. Williams,

Portable Music and

Its

Functions,

Peter Lang,

2001.

28 Jan.

Media Structure and Uses: Radio

AC:

chapter 11

Berland,.nRadlo

Space

and Industrial TIme," in

Canadian Music: Issues of Hegemony and

Identity,

Diamond and R. Witmer, eels., canadian Scholars Press, 1993.

H. Westerkamp, "The Soundscape on Radio," In D. Augaltls

D. Lander, eds.

Radio Rethink.

Banff,

Alberta:

Walter Phillips Gallery,

1994.

R. M. Schafer, "Radical Radio,"

D. Lander &. M. Lexler, eds.

Sound by Artists,

Art Metropole &

Walter Phillips Gallery,

1990.

References:

F. Dyson, "The

Genealogy

the Radio Voice," In

Augaltls &

Lander, eds.

Radio Rethink.

Banff, Alberta: Walter Phillips Gallery,

1994.

Douglas,

Ustenlng In: Radio and the American ImaginatIon,

Times Books, 1999

Fomatale. l.

Mills,

R.adlo In the Television Age,

Overlook Press, 1980.

D. Kahn & G. Whitehead,

Wireless imagination: Sound, radio, and the avant-garde.

MIT Press,

1992.

E. Pease

E. Dennis,

eels.

Radio: The Forgotten Medium,

Transaction Publishers, 1995.

B. Barber, "Radio: Audio Artis Frightful Parent, n In D. Lander & M. Lexler, eds.

Sound by ArtIsts,

Art

Metropole

Walter Phillips Gallery, 1990.

4 Feb.

Media Structure and Uses: Televlalon and Video

D. De Kerckhove,

The Skin

Culture: Investigating the New Electronic Reality.

Somerville House,

1995. Ch. 2

"Television"

M. Chlon,

Audio-Vis/on: Sound

on Screen,

Columbia University Press, 1994. Chi 8 "Television,

Video Art, Music Video". PN 1995.7 C471

11 Feb.

Audio Advertising I

T. Schwartz,

The Responsive Chord,

Anchor

Press,

1973. (selections)

D. Huron, aMusic in Advertising: An Analytic Paradigm,.

The Musical Quarterly,

73, 1989, 557-574.

l. Mowitt, arhe Sound of Music in the Era of Its Electronic Reproducibility, n In R. Leppert & S.

McClary, eds.

Music and Society,

Cambridge University Press, 1987, pp. 173-179 (Memorex

ad section).

N. Cook,

"MusiC and Meaning In the Commercials,"

Popular MuSiC,

13(1),

1994, 27-40.

References:

M. l. Shatzer, "Ustenlng and the Mass Media," In R. Bostrom, ed.

Listening Behavior,

Gulldford

Press, 1990. (BF 323 LS B57 1990)

18 Feb. and 26 Feb. Olympic Break

4 March

Audio Advertising. Marketing' the Electroacouatic Community

AC:

chapter 12

l. AttaU;

Noise (The Political

~conomy

of Music),

The Unlv. of Minnesota Press, 1985. Chi

"Repeating", p. 87-120 ("The Emplacement of Recording" and "Double Repetition")

P. du Gay

et al.,

Doing Cultural Studies: The Story of the Sony Walkman,

Sage Publications,

1997.

Ch. 5 "Consuming the Walkman

P. Theberge, "Musicians as Market, Consumers of Technology/

OneTwoThreeFour,

9, 1990,53-90.

References:

1. O'Connell, "The Fine Tuning of a Golden Ear: High-end Audio and the Evolutionary Model of

Technology,a

Technology and Culture,

vol. 33, no. 1, 1992,

pp.

1-37.

11 March

The

Recorded Document I: Music

M. Katz,

Capturing Sound: How Technology Has Changed Music,

University of California Press,

2004. Chi 1 "causes"

G. Gould, n-rhe Prospects of Recording,"

HI RdeJ/ty,

16(46), 1966 •.

P. Theberge, "The 'Sound' of Music: Technological Rationalization and the Production of Popular

Music,"

New Formations,

vol. 8, 1989, pp. 99-111.

Doyle,

Echo and Reverb: Fabricating Space In Popular Music Recording,

1900-J960,

Wesleyan

University Press, 2005. Chi 2 "Harnessing the Echo"

References:

M. Chanan,

Repeated Takes:

short history of recording and Its effects

music,

Verso, 1995.

E. Eisenberg,

The recording angel

mUSiC, records and culture from Aristotle to Zappa,

Yale

University .Press,

2005.

C. Symes,

Setting the Record Straight,

Wesleyan University Press, 2004.

18 March

The

Recorded

I;)ocument II: Sound

AC:

chapter 13

l. Sterne, "A

Machine

Hear

for

Them: On the very

Possibility

of Sound's Reproduction,"

Cultural

Studies,

15(2), -2001,

259-294.

References:

M. Mcluhan,

Understanding Media: The Extensions of Man,

MIT Press, 1964. Ch. 28 "The

Phonograph".'

Sterne,

The Audible Past: Cultural Origins of Sound Reproduction,

Duke University Press, 2003.

Taylor,

Strange Sounds: Music, Technology, and Culture,

Routledge, 2001.

Leonardo Music Joumal,

vol. 13, 2003. "Groove, Pit, and Wave: Recording, Transmission and

Music" (ML 1 L2)

2& Mach

Media Structure and Uses: Film

R. Altman,

ed.

Sound Theory, Sound Practice,

Routledge, 1992. I) R. Altman, "Sound/History," If)

M. Chlon, "Wasted Words," III) A. Williams, "Historical and Theoretical Issues In the Coming

of Recorded Sound

the'Clnema."

M. Chlon, "Audio-Vision and Sound", in P. Kruth

H. Stobart, eds.

Sound,

Cambridge Unlv. Press,

2000

(QC

225.6 S68 2000)

A. Doane, "The Voice In Cinema: The Articulation of Body and Space," In

Wets

& l.

Belton,

eds.

Film Sound,

Columbia University Press, 1985.

References:

K. Silverman, "Dis-Embodying the Female VOice," In

Re-Vlslon: Essays

Feminist Film Crltldsm,

The American Film Institute Monograph Series, vol. 3, 1984. '

D. Sonnenschein,

Sound Design: The Expressive Power of Music, VOice, and Sound Effects In

Cinema,

M. Wiese ProdUctions, 2001. (TR 897 S66 2001)

Thompson, "WIring the World: Engineers and the

Emplr~

of Sound In the Motion Picture

Industry, 1927-1930, '! In

Erlmann,

ed.

Hearing Cultures: Essays

Sound, Ustenlng, and

Modemlty,

Berg,

2004, Ch. 10, pp 191-229 (extensive references).

1 April

Media Structure and Uses: Games, Digital Audio" the

Intemat

Sterne, "The mp3 as Cultural Artifact,"

New Media and Society,

8(5),

2006, 825-842.

Taylor,

Strange Sounds: Music, Technology, and Culture,

Routledge, 2001. Chi 1 "MUSiC,

Technology, Agency, and Practice

M. Katz,

capturing Sound

How Technology Has Changed Music,

University of California Press,

2004. Ch.

"Ustenlng In Cyberspace"

References:

M. Bull, "Soundscapes of the

~r,"

In M., Bull and L.

Back,

eds.

The Auditory Culture Reader,

Berg,

2003, 357-374.

M. Ayers, ed.

Cybersounds: Essays

Virtual Music Culture,

Peter Lang, 2006.

Sterne, "The Death and Life of Digital Audio,"

Interdisciplinary Science Reviews,

31(4), 2006,

338-348.

8/15 April

Alternative Media Usas

AC:

chapter 14

P. Theberge,

Any Sound You can Imagine,

Wesleyan University Press, 1997. Ch. 10, "Toward a

New Model of Musical Production and Consumption"

Wurtzler,

E/~ctric

Sounds: Technological Change 'and the Rise of Corporate Mass Media,

Columbia University Press, 2007. Ch. 6 "Conclusions/Reverberations"

References:

B. Blesser,

Spaces Speak,

Are

You Ustenlng? Experlendng Aural Architecture,

MIT Press, 2007. Ch.

5, "Inventing Virtual Spaces for Music"

MEMO

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FROM:

RE:

DATE:

School of Communication

Alison Beale,

Faculty of Communication, Art

Technology,

Undergraduate Curriculum Committee

Zoe Druick, Undergraduate Program Chair,

School of Communication

Calendar Changes: 2020/11

14 July 2010

On 8 June 2010, the CMNS Undergrad Curriculum Committee decided to amend the Checklist for

Publishing Minors, and to delete

CMNS publishing-related courses - to reflect the fact that the

Publishing Program

will be taking over the management of the Publishing Minor Program. and has

already added Iswitched

10 undergrad publishing courses to their curriculum.

The

CMNS Meeting of the Whole on 9 June 2010 approved these same changes/deletions.

For students already approved

as Publishing Minors, they will need

be able to use CMNS and/or

PUB courses at the Upper Division towards the completion of their Minors. The revised Checklist for

Publishing Minors indicates which courses were switched over from

CMNS to PUB designations, and

their new course numbers

(if necessary). along with the 3 brand new courses within PUB that can now

be part of this Minor Program.

We wish to DELETE the following courses;

CMNS 472-4 "Books, Markets and Readers"

CMNS 474-4 "The Business of Publishing"

If you have any questions about these changes, please don't hesitate to contact

directly.

ZD:LCM

Attachments

cc L.Menkveld

N .Shahani, CMNS

R.Lorimer

J .Ray, MPUB

SIMON FRASER UNIVERSITY

THINKING OFTHE WORLD.

EDstIDg Course Number:

SIMON FRASER UNIYEBSID'

Coone

Change Form

CMNS472

Credits: 4

EDstlDg Coarse TItle: Books, Markets and Readers

DEPARTMENt:

Course Number:

TItle:

DeseriptlOD:

Credit Bour: __ _

Prerequisite: __ _

(Not.:

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CMNS 472-4 is be a duplicate of PUB 350-4.

Effective date:

2010/11 Calendar.

Martin

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Director

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~OACr

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Undergraduate

Cwriculum

Committee

Faculty of Communication, Art

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date

Rowland

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Director

Publishing

Program

date

Chair

SCUS

date

Existing Course Number:

SIMON FRASER YNMRSIU

Coprse Cbapg Form

CMNS474

Credits:

EDstiDg

Coane TItle:

The Business of Publishing

DEPARTMENT:

Course Number:

Title:

Deseriptlon:

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Minor in

PublisbiDg comses are moving from the School of Communication to

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restrucCuring ofbotb

UDits

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new Faculty of Communication, Art and Technology as of 1 April 2009.

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CMNS 474-4 is be a duplicate of PUB 450-4.

EtTeetlve

date:

1010111 Calendar.

ApprorqJs:

Martin

Labs,

Director

School of Communication

date

i£

-------

Undergraduate

Curriculum

Committee

Faculty of Communication, Art

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Rowland

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Director

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SCUS

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