Archive for the ‘SUBMISSIONS’ Category

The role of the mastering engineer within the production process. Discuss the history and changing environments in this regard in relation to current practices. Back this up with appropriate sources and critically evaluate.  

Master of the Universe: A Beginner’s Guide to Mastering

Mastering Matters: Understand Your Mix’s Essential Final Step

SNB Mastering

The Future of Mastering

The Musicality of Mastering

Demistifying Mastering

The Zen of Mastering

Issues in Modern Mastering

Natasha is a live sound engineer who has recently bought herself a Pro Tools rig. She sets the rig up at gigs and makes a multi track recording of bands performance via the direct outs of the front of house console. She then takes the recordings home, mixes them down and sells them back to the bands. She also places the recordings on her website and offers them for sale for $5 a gig.

Discuss how Natasha can best comply with performer’s rights legislation so as to not run into any issues with the bands in the future, also;
Natasha has learnt that Bob has used a sample from one of her recordings in a track that he has produced. Discuss wether copyright law makes it necessary for Bob to obtain Natasha’s permission to use the sample. 

ASSIGNMENT SUBMISSION:

BAP205.1 ACOUSTICS REPORT

BAP205.2 CASE STUDY 1

BAP205.3 CASE STUDY 2

ASSIGNMENT SUBMISSION

JOURNALS

The Influence of Metre, Mode, Interval Type, and Contour in Repeated Melodic Free-Recall [Accessed: 07.01.12]

The Effect of Implied Harmony, Contour and Musical Expertise on Judgments of Similarity of Familiar Melodies [Accessed: 07.01.12]

The Dynamics of Musical Expectancy [Accessed: 10.01.12]

Rhythm and Pitch in Music Cognition [Accessed: 07.01.12]

WIKI

Tonic [Accessed: 08.01.12]

WEB LINKS

Secrets of Pop Success Revealed, Scientists Claim [Accessed: 08.01.12]

Scoreahit.com [Accessed: 08.01.12]

Conduct a case study on an album (musical work) that has had a clear influence on the industry. Provide an overview of the key people involved in the production of the work. Examine the tracks on the album and critical analyse the key production values that define the album overall. Use quotes and other materials from a variety of sources to support the analysis.

ASSIGNMENT SUBMISSION

PROQUEST (THE INFORMATION)

Wax On, Wax Off [Accessed: 14.01.12]

Disinformation Society: Beck – “The Information” [Accessed: 14.01.12]

Rock & Roll: Beck Breaks New Ground [Accessed: 14.01.12]

PROQUEST (BECK)

Q&A: Beck – He’s Finally Got a New Family, a New Block-Rockin’ CD, “Guero,” and a New Age Secret Influence: Yanni [Accessed: 14.01.12]

Beck [Accessed: 14.01.12]

Hung with Guitar String: The Lake, It Is Said, Never Gives Up Her Dead [Accessed: 14.01.12]

Sampling Remains Prevalent Despite Legal Uncertainties [Accessed: 14.01.12]

Beck: The Rolling Stone Interview [Accessed:14.01.12]

WEB LINKS (THE INFORMATION)

Beck Giving Fans Sticky Fingers With Quasi-Hip-Hop Album [Accessed: 16.01.12]

The Information – AllMusic.com [Accessed: 16.01.12]

Beck – The Information [Accessed: 17.01.12]

Album: Beck The Information, Interscope [Accessed: 17.01.12]

Beck: The Information Beck’s gone electro. And it’s brilliant [Accessed: 17.01.12]

The Infinite Album [Accessed: 17.01.12]

Becks “Painful” Album [Accessed: 18.01.12]

WEB LINKS (BECK)

Beck Bio – MTV.com [Accessed: 16.01.12]

WEB LINKS (OTHER)

Beck – Mutations [Accessed: 22.01.12]

Beck – Sea Change [Accessed: 22.01.12]

Beck – Guerolito [Accessed: 24.01.12]

WIKI LINKS

The Information

Beck

Beck Discography

Beck Awards

PROQUEST (CHAOS)

Binelli, Mark – Sir Paul Rides Again [Accessed: 02.01.12]

Molenda, Michael – Here, There and Everywhere [Accessed: 02.01.12]

Hurwitz, Matt – Goldmine Interviews [Accessed: 02.01.12]

48th Annual Grammy Award Nominees [Accessed: 02.01.12]



For this assessment task students are required to prepare an analytical written report.

Select at least five (5) online or off-line articles, by five different authors and three (3) other sources (interviews, audio tracks, pictures, films, video clips etc.), that are related to your specialised area of interest (as defined by the Creative Project 2 topic).

The material should be selected carefully. Primarily seminal documents of influential authors should be considered. They must be appropriate, authoritative and relevant demonstrating differing perspectives (or opinions) on the specific topic.

ASSIGNMENT SUBMISSION:

CONTEMPORARY POPULAR MUSIC :

Music Makers: Popular Culture in Music Education – Popular Music in the Classroom: Where to Begin? – Sarah Morrison [Accessed: 07.12.11]

The Great Pop Boom – Herrera & Trust [Accessed: 07.12.11]

“Popular Music and Society” and the Evolving Discipline of Popular Music Studies – Gary Burns [Accessed: 10.12.11]

“Now We’re on the Top, Top of the Pops”: The Performance of “Non-Mainstream” Music on “Billboard’s” Albums Charts, 1981-2001 – Jim Sernoe [Accessed: 10.12.11]

Radio Friendly: Part 2 – Kevin Sinclair [Accessed: 11.12.11]

DEFINING THE MELODIC “HOOK”:

The Persistence of Musical Memories: A Descriptive Study of Earworms – Bartlett & Hapbern [Accessed: 29.11.11]

Centaur Reading – Earworms (“stuck song syndrome”): Towards a Natural History of Intrusive Thoughts – Beaman and Williams [Accessed: 30.11.11]

The Selling Power of Song: Catalog Evergreens Pop Up as Jingles in Increasing Numbers – Lichtman [Accessed: 30.11.11]

A Typology of ‘Hooks’ in Popular Records [Accessed: 07.12.11]

THE “HOOK” FORMULA:

Two-and-a-Half Centuries in the Life of a Hook – Mercer Taylor [Accessed: 26.11.11]

Effect of Music Training and Musical Complexity on Focus of Attention to Melody or Harmony – Williams [Accessed: 25.11.11]

Music Makers: åSong Structure – Farish [Accessed: 25.11.11]

Factors of Musical Perception – Three Points of View – Cuddy, Keane & Zuk [Accessed: 11.12.11]

Melodic Contour Similarity Using Folk Melodies – Mark Schmuckler [Accessed: 12.12.11]

MISCELLANEOUS:

The Basics – Pentatonic Scales [Accessed: 25.11.11]

Reviews: “This Is Pop: In Search of the Elusive at Experience Music Project,” Edited by Eric Weisbard [Accessed: 25.11.11]

The Effect of Pattern Recognition and Tonal Predictability on Sight-Singing Ability [Accessed: 25.11.11]

Soloing: The Importance of Melody [Accessed: 25.11.11]

Keyboards: Getting Outside the Tonality While Staying Inside the Melody–Part 1 [Accessed: 25.11.11]

Sign on the Dotted Void: Peppy Songs with Hooks and Beats – the New Underground Craze! [Accessed: 06.12.11]

JYU Academia.edu – Melodic and Contextual Similarity of Folk Song Phrases [Accessed: 30.11.11]

WEB LINKS

Philipp Tagg’s Online Texts [Accessed: 06:11:11]

Share Ranks.com – Best Song Hooks [Accessed: 25.11.11]

RollingStone.com – 500 Greatest Songs of All Time [Accessed: 25.11.11]

The Telegraph.co.uk – 100 Greatest Songs of All Time [Accessed: 25.11.11]

Songwriter’s Resource Guide [Accessed: 01.12.11

WEB VIDEOS

World Science Festival.com – Bobby McFerrin Hacks Your Brain With Music [Accessed: 24.11.11]

World Science Festival.com – Notes & Neurons: In Search of the Common Chorus [Accessed: 25.11.11]

Select two influential producers. Write a report that provides an analysis of key works that define them as a creative force. Ensure that you provide a descriptive overview of the key elements of each producer’s style. Using a variety of examples, consider how their professional work has contributed to developments within the field.

ASSIGNMNET SUBMISSION:

TIMBALAND

SOUNDS:

Selected Discography:

Solo
Tim’s Bio: From the Motion Picture: Life From Da Bassment, Atlantic, 1998.

With Timbaland & Magoo
Welcome to Our World, Blackground, 1997.
Indecent Proposal, Virgin, 2001.

As Producer
Aaliyah, One in a Million, 1996.
Ginuwine, Ginuwine… the Bachelor, 1996.
Missy Misdemeanor Elliott, Supa Dupa Fly, 1997.
Jay-Z, Vol. 2: Hard Knock Life, 1998.
Cali Kings, Hip Hop Mix, 1999.
Missy Misdemeanor Elliott, Da Real World, 1999.
Ginuwine, 100% Ginuwine, 1999.
Da Brat, Unrestricted, 2000.
Jay-Z, Vol. 3: Life and Times of Sean Carter, 2000.
K-Ci & Jo-Jo, X, 2000.
Memphis Bleek, Understanding, 2000.
Ludacris, Back for the First Time, 2000.
Snoop Dogg, Last Meal, 2000.
Aaliyah, Aaliyah, 2001.
Fabolous, Ghetto Fabolous, 2001.
Ginuwine, The Life, 2001.
Jadakiss, Kiss tha Game Goodbye, 2001.
Bubba Sparxxx, Dark Days, Bright Nights, 2001.
Missy Misdemeanor Elliott, Miss E.… So Addictive, 2001.
Jay-Z, Blueprint, 2001.
Limp Bizkit, New Old Songs, 2001.
Ludacris, Word of Mouf, 2001.
Aaliyah, I Care 4U, 2002.
TLC, 3D, 2002.
Karen Clark Sheard, 2nd Chance, 2002.
Baby, Birdman, 2002.
Destiny’s Child, This is the Remix, 2002.
Missy Misdemeanor Elliott, Under Construction, 2002.
Eminem, Eminem Show, 2002.
Jay-Z, Blueprint2: The Gift & the Curse, 2002.
Mack 10, Presents the Hood, 2002.
Justin Timberlake, Justified, 2002.
Fabolous, Street Dreams, 2003.
Lil’Kim, Bella Mafia, 2003.
Solange, Solo Star, 2003

WEB LINKS:

Wikipedia [Accessed: 22.11.11]

Production Discography – Wiki [Accessed: 22.11.11]

All Music.com – Biography [Accessed: 22.11.11]

Artist Direct .com – “One of the Greatest”: An Interview with Timbaland [Accessed: 22.11.11]

Answers.com – Timbaland [Accessed: 22.11.11]

Rollingstone.com – Timbaland [Accessed: 22.11.11]

PRO QUEST:

ProQuest.com – “That Ill, Tight Sound”: Telepresence and Biopolitics in Post-Timbaland Rap Production [Accessed: 22.11.11]

ProQuest.com – The Critics: Pop Music – The Timbaland Era [Accessed: 22.11.11]

MISC WEB RESOURCES:

Wired.com – Superproducers [Accessed: 22.11.11]

Select two influential producers. Write a report that provides an analysis of key works that define them as a creative force. Ensure that you provide a descriptive overview of the key elements of each producer’s style. Using a variety of examples, consider how their professional work has contributed to developments within the field.

ASSIGNMENT SUBMISSION:

NIGEL GODRICH

SOUNDS:

Air – Pocket Symphony (Producer)

Air – Talkie Walkie (Producer, Engineer, Mix)

Beck – Guero (Mix)

Beck – Sea Change (Producer, Engineer, Mix)

Charlotte Gainsbourg – 5.55 (Producer, Mix)

Paul McCartney – Chaos and Creation in the Backyard (Producer)

Radiohead – Kid A (Producer, Engineer, Mix)

Radiohead – Amnesiac (Producer, Engineer)

Radiohead – Hail To The Thief (Producer, Engineer, Mix)

Radiohead – In Rainbows (Producer, Engineer, Mix)

Radiohead – King of Limbs (Producer, Engineer, Mix)

Thom Yorke – The Eraser (Producer, Engineer, Mix)

WEB LINKS:

Wikipedia [Accessed: 20.11.11]

Nigel Godrich.com [Accessed: 20.11.11]

Dead Air Space.com [Accessed: 17.12.11]

CBC.ca – Everything In It’s Right Place – The Productions of Nigel Godrich [Accessed: 20.11.11]

ProQuest.com – Rock & Roll: How to Become a Producer in Eight Easy Steps [Accessed: 20.11.11]

Pitchfork.com – Nigel Godrich Talks “From the Basement”, Radiohead [Accessed: 20.11.11]

Les Inrockuptibles, “Nigel the Nihilist.” [Accessed: 18.12.11]

The Mix [Accessed: 20.12.11]

PRO QUEST:

ProQuest.com – “Goldmine” Interviews – Paul McCartney: Behind the Scenes Recording and Touring “Chaos & Creation” – and More [Accessed: 16.12.11]

Here, There, and Everywhere [Accessed: 17.12.11]

Wax On, Wax Off [Accessed: 17.12.11]

Sir Paul Rides Again [Access: 17.12.11]


A written report that provides a descriptive outline of the project must be submitted with the practical work. The report must provide a descriptive overview and an analytical critique of the processes and outcomes of the project.

ASSIGNMENT SUBMISSION

Each student is required to submit an individually written report in the form of a diarised logbook. The logbook should contain detailed accounts of the events that took place during the BAP160.2 Practical Assignment. It should commence from the planning stage right up to the finished project. The diary should give an account of the day’s accomplishments, whether or not events occurred according to plan, plus an indication of what could have been improved.

ASSIGNMENT SUBMISSION