This one year part time course is aimed at those who want to or are considering entering the profession of writing Music for Film. The course aims to familiarize you with professional practise in synchronization techniques and in the technical as well as the creative aspects of writing music for film. The course addresses itself primarily to the business of underscore. This is achieved through analysis, discussion and composition. Those teaching on the course are working professionals in the Field who will help you to build a keen eye and the confidence to tackle a wide variety demands usually made on composers.

The course requires you to attend one and half days a week over the period of 30 teaching weeks. In addition students are expected to develop their own work in our lab studio. There is a substantial amount of supervision and support available and the course aims to encourage a high level of technical as well as creative competence.

The studio is Macintosh based and has a good library of sounds. Our software includes Cubase Audio, Sibelius, Performer Audio and there are Facilities to record 8 track digital or 15 tracks of mixed digital/analogue audio. Sampling is based on the Roland S7 and Emu E64 series

1 A very keen interest in him music ( underscore ) and an ability to discuss the composers and trends with understanding

2) A good general level of musicianship This means you can either play an instrument well and/or be involved in writing and/or arranging music
3) You must be Familiar with the basics structures of composition e.g.. melody, Form, harmony, rhythm and texture (in your preferred style) and be musically literate
 

All candidates who meet the above criteria to be short listed for interview. Initially 10 places are available with 4 named alternates.
 

Consequently. composers need to be keenly aware of time and timings, and be able to compose music to frame accurate synchronization. It is extremely useful to know how the machines used for editing picture (which are also used for marrying picture and sound) actually work. As a consequence students on the course will be expected to familiar themselves with the workings of the edit suite and be expected to visit the production houses with whom we have links. In contemporary custom and practise the computer has come to play a big part in assisting the work of the film composer particularly at the post production (music) stage

Our Macintosh/midi based suite, linked to a Fostex RD8 (ADAT), allows us to link directly to the edit suite where the Fostex, in line with two video machines, can function as a 3 machine edit suite. We also have the facility for computer based audio editing which allows us to combine live and sequenced material without sacrificing accuracy of timing and synchronization.
 
 

There are no formal entry qualifications. However In addition 10 the qualities already mentioned, you need
1) a high degree of musicianship, a good ear, be able communicate well and work wish others as a member of a learn,
2) experience of composing music (in your preferred style), and be musically literate
3) an ability For thinking about the structural elements of composition, ( e.g.. form, continuity, melody,
harmony texture),
a good working knowledge of a variety of instruments {e.g.. ranges, characteristics, a keen interest in film music (underscore )
 
 

  Term, 1 (January)
  1....Film Music Composition, 2 hours/week
  2... Midi Technology , 2 hours/week
  3... Harmony & Orchestration 1, 2 hours/week

Term 2 (April)
 1...Film composition 2,   2 hours/week
  2...Harmony & Orchestration 2, 2 hours/week
 3...Audio Recording, 2 hours/week
 

Term 3 (September )
  1...Final Projects, .  2 hours week
  2...Law of Contract & Copyright,   2 hours/week
 
 

(Duration 1 term only Sept. DEC.)
 

Term starts in September
  1... Composition, 25 hours/week
  2... Survey of Film Music (Techniques), 25 hours/week
  3... Studio Practise, 25 hours/week
  4 ...Film Studies(History/Practice), 25 hours/week