Course coordinator
Dr Chris Perren
Course overview
- Study period
- Semester 1, 2025 (24/02/2025 - 21/06/2025)
- Study level
- Undergraduate
- Location
- St Lucia
- Attendance mode
- In Person
- Units
- 2
- Administrative campus
- St Lucia
- Coordinating unit
- Music School
This course develops intermediate skills in creative music making music using music technologies and digital audio workstations. Topics include audio and MIDI recording, editing and mixing techniques, sound design, mix automation and critical listening.
Please note that this course offering may be cancelled if fewer than 10 students enrol.
This course develops principles for creative music making and production techniques using studio music technologies and digital audio workstations.
In this course, students developﾠ skills in arranging, shaping and sculpting of musical sound. Students explore advanced skills in MIDI production, digital and analogue synthesis, sound design and processing, synchronising music and vison, and digital audio workstation production workflows. Four in-class music production tasks and the creation of an original musicalﾠworkﾠprovide key practical benchmarks throughout the unit. Students also develop critical listening and analysis skills for music production through the completion of regular listening exercises.
Students who have completed MUSC1010 (Introduction to Music Technology)ﾠ can expect to build on the sound design, sampling, production, arrangement, and mixing skills they have already acquired by delving deeper into more advanced tools, knowledge, and techniques.
Course requirements
Prerequisites
You'll need to complete the following courses before enrolling in this one:
MUSC1010 or Permission of Head of School of Music
Incompatible
You can't enrol in this course if you've already completed the following:
MU373
Restrictions
course offering may be cancelled if fewer than 10 students enrol
Course contact
Course staff
Lecturer
Dr Chris Perren
Tutor
Dr Chris Perren
Mr Dion Clark
Timetable
The timetable for this course is available on the UQ Public Timetable.
Additional timetable information
Lectures
Weekly lectures cover key concepts and demonstrate techniques.
Laboratory Tutorials
Weekly tutorials focus on practical skills, demonstrations, collaborative work, and discussion.
In-class Assessment - Creative Production Projects
During the course, students will complete three ﾠpractical in-classﾠ tasks called "Creative Production Projects" (CPPs). Each task focuses on a particular technique covered in lectures and tutorials. At the beginning of class, students will be provided with the information or files necessary to complete the task, and must complete and submit before the end of class. See Blackboard for details on this assessment task.
Major Project
In week 13, the laboratory session will consist of students' Major Project Presentations, in which students will presentﾠand discuss their Major Project work to the class. The Major Project is a significant individual work created outside of class time. See Blackboard for details of this assessment task.
Online Content
Additionally, online content including readings, video, and activities will be provided on Blackboard during most teaching weeks to support and extend student learning.
Aims and outcomes
The course focuses on creative music making techniques using digital audio workstations and recording technologies. Students develop a firm understanding of the processes involved in the creative application of music technologies for composition, sound design and music production. Analytical and practical tasks enable students to apply their knowledge of music creation and sound production in a flexible way, preparing them for frequent changes to the equipment, circumstances and methods encountered in professional industry contexts. Regular practical assignments for this course enable students to negotiate a range of professional techniques and workflows. Practical skills are reinforced by theoretical material presented in video-lecture materials, readings and additional demonstrations in the weekly laboratory sessions.
Learning outcomes
After successfully completing this course you should be able to:
LO1.
Hear and interpret a range of sound processing and mixing techniques.
LO2.
Understand audio signal flows and their application in sound synthesis and mixing.
LO3.
Operate a digital audio workstation and associated software plugins to achieve creative music making outcomes in individual and collaborative contexts.
LO4.
Understand how a range of technologies are applied in order to capture, generate or manipulate sonic and musical material.
LO5.
Analyse technical and creative choices made when working with music technologies and communicate these choices to others in a clear and effective way in class and online contexts.
Assessment
Assessment summary
| Category | Assessment task | Weight | Due date |
|---|---|---|---|
| Practical/ Demonstration |
Creative Production Projects
|
45% |
Creative Production Project 1 17/03/2025 - 21/03/2025 Creative Production Project 2 31/03/2025 - 4/04/2025 Creative Production Project 3 14/04/2025 - 18/04/2025
Must be completed during the scheduled Laboratory Session as per the timetable provided. |
| Project |
Major Project Draft
|
Hurdle Requirement |
12/05/2025 - 16/05/2025
Due in scheduled class time. |
| Presentation, Project |
Major Creative Project & Presentation
|
55% |
26/05/2025 - 30/05/2025
Due in scheduled class time. |
A hurdle is an assessment requirement that must be satisfied in order to receive a specific grade for the course. Check the assessment details for more information about hurdle requirements.
Assessment details
Creative Production Projects
- In-person
- Mode
- Activity/ Performance
- Category
- Practical/ Demonstration
- Weight
- 45%
- Due date
Creative Production Project 1 17/03/2025 - 21/03/2025
Creative Production Project 2 31/03/2025 - 4/04/2025
Creative Production Project 3 14/04/2025 - 18/04/2025
Must be completed during the scheduled Laboratory Session as per the timetable provided.
- Other conditions
- Time limited.
- Learning outcomes
- L01, L02, L03, L04
Task description
Creative Production Projects (CPPs) are in-class tasks which focus on a particular aspect of music production. They are designed to encourage practical learning whilst also assessing developing skills.
CPPs are completed in regular class time with assistance from the teacher. At the beginning of class, students will be provided with the information or files necessary to complete the task, and must complete and submit before the end of class. See Blackboard for details on this assessment task. All the knowlegde and skills required to complete the task will be provided in advance via tutorials and lectures, and students will have an opportunity to practice the skills both in-class and independently.
The CPPs are short, focused, and contained tasks which develop the skills necessary for completing the final Major Production Project.
PLEASE NOTE: GENERATIVE AI
This assessment task is to be completed in-person. The use of generative Artificial Intelligence (AI) or Machine Translation (MT) tools will not be permitted. Any attempted use of AI or MT may constitute student misconduct under the Student Code of Conduct.
Submission guidelines
Submission will occur during scheduled class time, according to submission instructions provided on Blackboard.
Students must complete course assessment tasks in the prescribed software.
Deferral or extension
You may be able to apply for an extension.
The maximum extension allowed is 28 days. Extensions are given in multiples of 24 hours.
Extension requests must be received on or before the due date. No extensions will be grated afterwards.
Late submission
You will receive a mark of 0 if this assessment is submitted late.
Absence during an in-class assessment without medical or other documentation will result in a score of 0 for the missed project. If a project is missed for legitimate personal or medical reasons, and documentation is provided, an extension can be granted. In this case, it is the student's responsibility to apply for an extension and liaise with the tutor to arrange a suitable time to re-sit the task.
Major Project Draft
- Hurdle
- In-person
- Mode
- Product/ Artefact/ Multimedia
- Category
- Project
- Weight
- Hurdle Requirement
- Due date
12/05/2025 - 16/05/2025
Due in scheduled class time.
- Learning outcomes
- L01, L02, L03, L04, L05
Task description
This assessment gives students the opportunity to get feedback on the development of their Major Creative Project.
In Week 11 students will present their work for feedback with their instructor and class. This will occur during scheduled class times.
Students will present their work-in-progress and be given verbal feedback on their progress. Students should come to class with working files and an exported wav/mp3 file ready to present.
The draft must be complete in at least one dimension, for example:
- Completed structure and duration, but arrangement yet to be completed
- Fully completed and produced arrangement, but only for part of the work
- Composition complete, but not yet fully realised in DAW
- Structure and arrangement complete, but yet to make final recordings for key parts (e.g. vocals)
PLEASE NOTE: GENERATIVE AI
This task has been designed to be challenging, authentic and complex. Whilst students may use AI and/or MT technologies, successful completion of assessment in this course will require students to critically engage in specific contexts and tasks for which artificial intelligence will provide only limited support and guidance.
A failure to reference generative AI or MT use may constitute student misconduct under the Student Code of Conduct.
To pass this assessment, students will be required to demonstrate detailed technical understanding of their production work independent of AI and MT tools.
Hurdle requirements
The Major Project Draft will be marked on a pass/fail basis. Students must pass this assessment to pass the course.Submission guidelines
Due in scheduled class time.
Deferral or extension
You may be able to apply for an extension.
The maximum extension allowed is 28 days. Extensions are given in multiples of 24 hours.
Extension requests must be received on or before the due date. No extensions will be grated afterwards.
Late submission
You will receive a mark of 0 if this assessment is submitted late.
Major Creative Project & Presentation
- In-person
- Mode
- Product/ Artefact/ Multimedia
- Category
- Presentation, Project
- Weight
- 55%
- Due date
26/05/2025 - 30/05/2025
Due in scheduled class time.
- Learning outcomes
- L01, L02, L03, L04, L05
Task description
The Major Project is a significant creative work, created individually outside of class time. Within some prescribed parameters (e.g. duration, minimum number of tracks, etc), it allows students flexibility to explore genres, techniques, and ideas which are of personal interest. The major project is an opportunity for students to apply knowledge and skills learnt throughout the semester within an individually meaningful musical context.
The Major Project is due in Week 13. Students will be expected to present their Major project in class with a short explanation (2-3 minutes) of the creative decisions, challenges, and solutions they made to create the final work.
Detailed information about the Major Project will be posted on Blackboard.
PLEASE NOTE: GENERATIVE AI
This task has been designed to be challenging, authentic and complex. Whilst students may use AI and/or MT technologies, successful completion of assessment in this course will require students to critically engage in specific contexts and tasks for which artificial intelligence will provide only limited support and guidance.
A failure to reference generative AI or MT use may constitute student misconduct under the Student Code of Conduct.
To pass this assessment, students will be required to demonstrate detailed technical understanding of their production work independent of AI and MT tools.
Submission guidelines
Due in scheduled class time.
Deferral or extension
You may be able to apply for an extension.
The maximum extension allowed is 28 days. Extensions are given in multiples of 24 hours.
Extension requests must be received on or before the due date. No extensions will be grated afterwards.
Late submission
A penalty of 1 grade for each 24 hour period from time submission is due will apply for up to 7 days. After 7 days you will receive a mark of 0.
Course grading
Full criteria for each grade is available in the Assessment Procedure.
| Grade | Cut off Percent | Description |
|---|---|---|
| 1 (Low Fail) | 1 - |
Absence of evidence of achievement of course learning outcomes. Course grade description: Work does not satisfy any basic requirements of this course |
| 2 (Fail) | 25 - |
Minimal evidence of achievement of course learning outcomes. Course grade description: Work does not satisfy all basic requirements of this course. |
| 3 (Marginal Fail) | 45 - |
Demonstrated evidence of developing achievement of course learning outcomes Course grade description: Falls short of satisfying all basic requirements of this course. |
| 4 (Pass) | 50 - |
Demonstrated evidence of functional achievement of course learning outcomes. Course grade description: Satisfies all of the basic learning requirements such as a knowledge of fundamental concepts and the performance of basic skills. |
| 5 (Credit) | 65 - |
Demonstrated evidence of proficient achievement of course learning outcomes. Course grade description: Demonstrates an ability to use and apply fundamental concepts and skills relating to computer-based music technology going beyond a perfunctory replication of content knowledge and skill. |
| 6 (Distinction) | 75 - |
Demonstrated evidence of advanced achievement of course learning outcomes. Course grade description: Demonstrates awareness and understanding of the subtler aspects of computer-based music technology such as the ability to adapt and apply ideas to new situations and an ability to invent and evaluate new ideas. |
| 7 (High Distinction) | 85 - |
Demonstrated evidence of exceptional achievement of course learning outcomes. Course grade description: Demonstrates imagination, originality and flair based on a thorough understanding of the concepts and processes involved in computer-based music technology. |
Additional course grading information
Students must complete course assessment tasks in the prescribed software. Students who do not complete an assessment task in the prescribed software will receive a failing grade for the assessment.
Supplementary assessment
Supplementary assessment is available for this course.
Additional assessment information
Marking criteria and/or marking rubrics are available in the ‘Assessment’ folder in Blackboard for this course.
Rules relating to use of AI in this course differ for each assessment, please see the Task Description for each assessment for more detail.
Learning resources
You'll need the following resources to successfully complete the course. We've indicated below if you need a personal copy of the reading materials or your own item.
Library resources
Library resources are available on the UQ Library website.
Other course materials
If we've listed something under further requirement, you'll need to provide your own.
Required
| Item | Description | Further Requirement |
|---|---|---|
| Portable USB Storage | Essential for use in this course and must be brought to every class. At minimum, a reliable 16GB USB stick may be sufficient, however we recommend a good quality portable hard drive with 500GB capacity or more to ensure space for all of your project work throughout the semester. | own item needed |
| Studio Monitoring Headphones | Compatible with 1/4" (6.5mm) headphone socket are required to complete individual study and assessment items. | own item needed |
Recommended
| Item | Description | Further Requirement |
|---|---|---|
| Andrew Brown, Music Technology and Education: Amplifying Musicality (Hoboken: Taylor and Francis, 2014). | UQ library electronic resource | |
| Gary Gottlieb and Paul Hennerich, Recording on the Go: The Definitive Guide to Live Recording (Boston MA: Course Technology, Cengage Learning, 2009) | UQ library electronic resource | |
| Robert Guerin, MIDI Power!: The Comprehensive Guide (2nd Edition) (Boston, MA, USA: Course Technology / Cengage Learning, 2005). | UQ library electronic resource | |
| Dan Hosken, An Introduction to Music Technology (New York: Routledge, 2011). | electronic resource | |
| David Miles Huber & Robert E. Runstein. Modern Recording Techniques. 7th ed. Oxford: Focal, 2009. | UQ library electronic resource | |
| Andrea Pejrolo, Creative Sequencing Techniques for Music Production (Second Edition), (Focal Press, Boston, 2011). | UQ library electronic resource | |
| Francis Rumsey and Tim McCormick, Sound and Recording: Applications and Theory (Hoboken: Taylor and Francis, 2014). | UQ library electronic resource | |
| Rob Young. The MIDI Files. 2nd ed. New York: Prentice Hall, 2001. | ||
| Mike Senior, Mixing Secrets for the Small Studio (Boston, Focal Press, 2011). | UQ library electronic resource | |
| Snoman, Rick (2013) ‘Chapter 6: Sampling and Sample Manipulation’ from Dance Music Manual: Tools, toys and techniques, Second Edition. Burlington, MA: Focal Press. | ||
| Anker, Kevin (2011) ‘Chapter 9 EXS24 mkII’ from Using Logic Pro's Synthesizers. Boston, MA: Course PTR. | ||
| D’Escriván, Julio (2011) ‘Chapter 8: The studio as experimental lab’ from Cambridge Introductions to Music: Music Technology. | ||
| Gibson, David (2005) ‘Chapter 2: Visual Representations of “Imaging”’ from The Art of Mixing: A Visual Guide to Recording, Engineering, and Production. Boston, MA: Course PTR. | ||
| Zagorski-Thomas, Simon (2014) ‘Chapter 5: Staging’ from The Musicology of Record Production. Cambridge: Cambridge University Press. | ||
| Dean, Tamara (2009) ‘Chapter 15: Sampling’ from Composition for Computer Musicians. Boston, MA: Course PTR. | ||
| Alten, Stanley R. (2011) ‘Chapter 14: Sound Design’ from Recording and Producing Audio for Media. Boston: Course Technology / Cengage Learning. | ||
| Huber, David Miles, and Runstein, Robert E. (2009) ‘Chapter 9: MIDI and Electronic Music Technology’ from Modern Recording Techniques, 7th Edition. Burlington, MA: Elsevier Science & Technology. | ||
| Pejrolo, Andrea (2011) ‘Chapter 1 – Setting Up Your Creative Environment: The Studio’ from Creative Sequencing Techniques for Music Production, Second Edition. Oxford: Elsevier. | ||
| Russ, Martin (2008) ‘Chapter 1: Background’ from Sound Synthesis and Sampling, Third Edition. Burlington, MA: Focal Press. | ||
| Izhak, Roey (2013) ‘Compressors’ from Mixing Audio: Concepts, Practices and Tools, Second Edition. Oxford: Focal Press. | ||
| Savage, Steve. "Building a Mix" from Mixing and Mastering in the Box: The Guide to Making Great Mixes and Final Masters on Your Computer, Oxford University Press, 2014 |
Additional learning resources information
Access to laptop, tablet, or smart phone which you can bring to tutorials is recommended, but not compulsory.
A list of required and recommended readings and videos will be posted on Blackboard each week. You should come to class prepared, having read and watched this learning content as your lecturer and tutor will expect familiarity with this material.
Learning activities
The learning activities for this course are outlined below. Learn more about the learning outcomes that apply to this course.
Filter activity type by
Please select
| Learning period | Activity type | Topic |
|---|---|---|
Multiple weeks From Week 1 To Week 12 |
Lecture |
Lecture Weekly lectures cover key concepts and demonstrate techniques. Learning outcomes: L01, L02, L03, L04, L05 |
Multiple weeks From Week 1 To Week 13 |
Tutorial |
Tutorial Weekly tutorials focus on practical skills, demonstrations, collaborative work, and discussion. Tutorials are a good opportunity for hands-on practice and one-to-one guidance from staff. Learning outcomes: L01, L02, L03, L04, L05 |
Policies and procedures
University policies and procedures apply to all aspects of student life. As a UQ student, you must comply with University-wide and program-specific requirements, including the:
- Student Code of Conduct Policy
- Student Integrity and Misconduct Policy and Procedure
- Assessment Procedure
- Examinations Procedure
- Reasonable Adjustments - Students Policy and Procedure
Learn more about UQ policies on my.UQ and the Policy and Procedure Library.
School guidelines
Your school has additional guidelines you'll need to follow for this course:
- School of Music site