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MDes Sound for the Moving Image


Glasgow School of Art    School of Simulation and Visualisation

Full time September MA 1 year

About the course

Overview

The Masters of Design (MDes) in Sound for the Moving Image offers the opportunity for postgraduate students to engage with the craft and creative practice of sound production, music composition and sound design applied to film, broadcasting, games, VR/AR platforms and audio-visual art practice.  The programme promotes the production of original work, through individual or group-based research, that is conceptually driven, aesthetically challenging, and wide-ranging in its use of sound design and music production/composition.

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Entry Requirements

A UG degree in a related subject such as sound production, recording arts, audio technology, film and video technology, music technology, music, sound design, film studies, music composition, media technology – portfolio required.

OR a fine art degree with significant mixed-media content – portfolio required.

OR A first degree in any subject with additional evidence of significant engagement with audio, music or film/video production - portfolio required.

OR Extensive professional experience in audio, music, film/video – portfolio and CV required.

: Interest and motivation to study Sound for Moving Image
: Evidence of knowledge and interest in the programme


Fees

Home 7920; Overseas 19980

 Course Content

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Where is Glasgow School of Art


Student Profile(s)

Iida Aino Viljanen

I’m from Finland and came to Scotland to study BA (Hons) Commercial Music at the University of the West of Scotland. During my BA I had modules in audio post production and composed music for student short films. This made me realise I wanted to have a career in sound, so I applied to the Sound for the Moving Image programme at the GSA.

My experience at SimVis and on the programme was great. I especially enjoyed the second semester as it introduced me to new things such as Max MSP and ambisonics. I met a lot of amazing people on the course, some of whom I’m now collaborating with. I was especially happy to meet other women – there were 6 of us in my class, a year record apparently! – because previously it was always just me and bunch of boys in audio classes. It’s really great to bond with other women who are into sound – it makes you feel like you’re not alone. It was also amazing to have a female lecturer in audio, Jessica Argo, who taught us film studies and helped with dissertations. I also do feel like the course prepared me pretty well for my current job in broadcast.

I’m an Assistant Dubbing Mixer and my job involves assisting in audio post production duties in broadcast. We work on television programmes for BBC, Channel 4, among others. My day-to-day duties include making deliverables such as stems and music EDLs, and track laying. This is the first stage of audio post: the audio is laid in Pro Tools and the dialogue and voiceover are cleaned and the volume is levelled.

I’m working on sound for theatre projects and making installations collaboratively, and I’m also planning my own work in sound installation, incorporating visual elements. I’ve not had much time recently to actually realise these plans but hopefully soon! I’m also working on a London based, all-female online sketch series called Spoon the Prune as a freelance sound designer which is exciting as I love working with other women in audio, film, art and theatre.

I’m a feminist and I really want to collaborate and create with women more – I recently worked on a multimedia installation called My Big Beating Voice with a group of women and absolutely loved it.

soundcloud.com/iidaaino

Anneke Kampman

I had been making and performing experimental electronic pop music with the band Conquering Animal Sound pretty seriously for about four or five years and had been dabbling in making my own performance work on the side. I was really keen to extend my practice outside of the confines of a purely ‘music’ based practice and explore written, visual and physical languages as a counterpoint to the way I was working with sound.

The programme offered me the opportunity to develop my technical knowledge of sound, develop confidence in working with processes and techniques outside of my knowledge at the time, whilst also situating my creative practice in a theoretical and discursive framework. Its open-ended nature enabled me to direct my learning and shape the aspects that felt appealing or important to me.

I would say that the breadth of my practice now is the thing that really keeps me making and engaged in what I’m doing. I’ve always been someone who works conceptually – the starting point of creating a work for me is always an idea or a theme that I want to express – no matter whether the outcome is a pop song, a text, an installation or a piece of performance art. I’m interested in the inter-relationships between seemingly diverse forms of material, how one medium can inform our experience of another, such as the written to the sonic, or the aural to the visual or vice-versa.

My work keeps me returning to Glasgow – I have lots of collaborators and friends here, and the small experimental music and performance scene here is very supportive! I performed at Tectonics last year on a
project called Labyrinthine with Jane Dickson and Lucy Duncombe. The piece was an Opera (of sorts) looking at the historical relationship between the female voice and the operatic tradition; a tradition where female identity is often written by men and see’s the female voice pushed to the limits of it’s physicality.

I have an LP called Songs For Another Voice, part of an exhibition called These Rotten Words at Chapter Arts Centre in Cardiff. The piece is a narrative song-story that looks at how subjectivity is created in capitalist societies and examines how commercial processes are exposed within the fabric of our thinking and through the texture (language, tone and prosody) of our speech and song.

www.anakanak.co.uk

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