20 courses with the subject FMU, each shown exactly as we captured it from the college's catalog, with every element we hold. Where the wording looks broken, that is our reading of the catalog, not the college's text.
In order to register for an Independent Study, you must receive written permission from the faculty member with whom you will be working, as well as your mentor. Said permission must be emailed to the office of the Academic Programs Manager in the School of Filmmaking before the end of the add/drop period.
In the Fall Semester, this class will explore the language of music and how it is used to enhance the dramatic intentions of the filmmaker: how music affects story through the use of instrumentation, style, motives, and rhythm. Each week, Year One Film Music Composition students will be assigned a cue to score, which they will then present during the following class. In the Spring Semester, the Year One graduate student composers will submit demos to the Year Three undergraduate filmmakers. Composers will then meet with the Year Three students to spot and compose music for the undergraduate films; they will also continue to present their music to their peers.
In the Fall Semester, this class will explore the language of music and how it is used to enhance the dramatic intentions of the filmmaker: how music affects story through the use of instrumentation, style, motives, and rhythm. Each week, Year One Film Music Composition students will be assigned a cue to score, which they will then present during the following class. In the Spring Semester, the Year One graduate student composers will submit demos to the Year Three undergraduate filmmakers. Composers will then meet with the Year Three students to spot and compose music for the undergraduate films; they will also continue to present their music to their peers.
This two-semester course will focus on major film composers who worked between 1930 and 1990. Students will be assigned individual composers to research and then will present to the class a brief lecture on the composer's biography, the films and related music that best represent that composer's collected works, and an analysis of the composer's style (his or her tendencies in terms of melody, harmony, rhythm, counterpoint, texture, and orchestration). Each week a film will be screened in its entirety and analyzed form the point of view of that composer's score.
This two-semester course will focus on major film composers who worked between 1930 and 1990. Students will be assigned individual composers to research and then will present to the class a brief lecture on the composer's biography, the films and related music that best represent that composer's collected works, and an analysis of the composer's style (his or her tendencies in terms of melody, harmony, rhythm, counterpoint, texture, and orchestration). Each week a film will be screened in its entirety and analyzed form the point of view of that composer's score.
These two semesters are spent learning state-of-the-art composition and recording software.
These two semesters are spent learning state-of-the-art composition and recording software.
Learning to write effectively for orchestral instruments is the goal of this course. Students will study each instrument of the orchestra and have their assignments played by visiting musicians.
Learning to write effectively for orchestral instruments is the goal of this course. Students will study each instrument of the orchestra and have their assignments played by visiting musicians.
A one-semester course devoted to techniques, methods, and issues related to film music.
In the Fall Semester, students will compose 90-second main-title cues for various styles and genres, including silent film, classical Hollywood drama, romantic drama, romantic comedy, film noir, TV comedy and drama, action/adventure, sci-fi, horror, cartoon/slapstick animation, suspense/thriller, the western, as well as cues influenced by the study of ethnomusicology and sound design. During the Spring Semester, composers will present their own work and critique each other's progress toward the completion of their MFA thesis.
In the fall semester, students will compose 90-second main-title cues for various styles and genres, including silent film, classical Hollywood drama, romantic drama, romantic comedy, film noir, TV comedy and drama, action/adventure, sci-fi, horror, cartoon/slapstick animation, suspense/thriller, the western, as well as cues influenced by the study of ethnomusicology and sound design. During the spring semester, composers will present their own work and critique each other's progress toward the completion of their MFA thesis.
This two-semester course will focus on major film composers who have worked between 1990 and the present day. Students will be assigned individual composers to research and then will present to the class a brief lecture on the composer's biography, the films and related music that best represent that composer's collected works, and an analysis of the composer's style (his or her tendencies in terms of melody, harmony, rhythm, counterpoint, texture, and orchestration). Each week a film will be screened in its entirety and analyzed from the point of view of that composer's score.
This two-semester course will focus on major film composers who have worked between 1990 and the present day. Students will be assigned individual composers to research and then will present to the class a brief lecture on the composer's biography, the films and related music that best represent that composer's collected works, and an analysis of the composer's style (his or her tendencies in terms of melody, harmony, rhythm, counterpoint, texture, and orchestration). Each week a film will be screened in its entirety and analyzed from the point of view of that composer's score.
This course encompasses the study of basic through advanced music theory concepts as they relate specifically to film music. The first half of the class uses examples from film scores to break down traditional concepts of music theory such as melody, harmony, modes and scales, rhythm and meter, countermelody, counterpoint and form. The second half introduces advanced 20th century compositional techniques, with specific focus on how they can be utilized to drive narrative and support emotion in film.
This course will introduce the vocabulary of jazz and writing/arranging techniques in the jazz/commercial style to film music composition students. Topics will include chord symbols, instrumentation and transposition, multiple part writing, harmonization of melody, jazz counterpoint, harmonic substitutions, and scoring techniques for small group to big band. Students may also have the opportunity to compose for, conduct, and record a live jazz ensemble.
This course introduces the study of music composition for video games. Topics to be covered include: video game history, types of game music, interactive music composition, spotting proper placement for a score in a game, the game development team, an overview of implementation software and delivery expectations, and the business of video games.
This course builds upon concepts introduced in Electronic Technology II, with a particular focus on mixing and mastering. Topics covered include modern mixing techniques, music editing and clean-up, working in surround sound, and state-of-the-art mastering plug-ins.
This course will introduce the basic techniques of conducting. Year Two graduate students will learn to lead musicians in the preparation of the music, how to cue entrances, maintain a beat pattern while reading a score and giving performance direction. The ensemble will consist of all the students within the Film Music Composition Program.
This course will focus on the practical aspects of a career in film music composition and will instruct students in the various skills needed to function as a working professional in the film industry. Lectures will cover a diverse body of information, such as hiring musicians, preparing contracts, payroll, dealing with unions, agents, lawyers, contractors, studio booking, where to live, how to make a professional phone call, how to dress and properly function in a meeting, how to function in a spotting session, and demo preparation.
Source: University of North Carolina School of the Arts's catalog, linked per course · table learning_unit · CourseShelf publish 61
