Course Handbook CMPG 2013

FACULTY OF MUSIC
COURSE HANDBOOK
2013/2014
Certificate in Music Production for Games
Table of Contents
1.
WELCOME
2.
CMPG CONTACT DETAILS
3.
KEEPING CONTACT WITH GRIFFITH COLLEGE
4.
ACADEMIC CALENDAR
5.
GUIDELINES & REGULATIONS
14
6.
YOUR COURSEWORK
18
7.
EXAMINATIONS, GRADING SYSTEMS & RESULTS
21
8.
FREQUENTLY ASKED QUESTIONS
24
9.
MODULE ASSESSMENT BREAKDOWN
28
10.
COURSE CONTENT
29
Module 1:
Music Technology
29
Module 2:
Applications Technology
33
Module 3:
Music and Image
36
Module 4:
Sound Design for Games
39
Module 5:
Music Composition for Games
43
Module 6: Games Development
46
Module 7: Interactive Storytelling
49
Griffith College/ Windmill Lane Academy
1.
Welcome
Welcome to the Faculty of Music at Griffith College Dublin and Windmill Lane
Recording.
This Course Handbook is designed to provide you with important Faculty information and
guidelines. Included are details relating to your syllabi, coursework, and academic calendar
along with important Music Faculty regulations and other information you will find helpful.
We hope that you enjoy your time at Griffith College/ Windmill Lane Recording, and wish you
every success throughout the year.
2. CMPG Contact Details

PLEASE NOTE THAT ALL COMMUNICATION WILL BE BY EMAIL AND MOODLE.
ENSURE YOU HAVE A VALID EMAIL ADDRESS AND ACCESS TO MOODLE. CHECK
YOUR ACCOUNTS DAILY.
Role
Course Director
/Applications Technology
Lecturer
Music Technology
Lecturer
Music Composition for
Games Lecturer
Sound Design
Music and Image
Lecturers
Game Development
Lecturer
Course Coordinator
Springboard Coordinator
Name
Debbie Smith
Contact
debbie.smith@gcd.ie
Office: B002
Tom McDonnell
thommcdonnell@gmail.com
Mick Kiely
mick.kiely@gmail.com
Claire Fitch
Rory Pierce
JJ Harrington
fitch.claire@gmail.com
rory.pierce@gcd.ie
harrjj@gmail.com
Tim Dawson
timodawson@hotmail.com
Mary OToole
Patrick OLeary
mary.otoole@gcd.ie
patrick.oleary@gcd.ie
Office: D003
Phone: 415 0 438
3. Keeping contact with Griffith College

The CA is responsible for registration and student record keeping on the Colleges
system. If you will be absent for any reason you should notify the CA via email so
she can notify your tutors. As well, if you have questions about exam dates, need to
present a medical certificate, wish to withdraw or defer your course, or need an
extension for an assignment due to illness (or unforeseen circumstance) you should
contact the CA.
Please ensure that your personal details are correct e.g. Address, Phone
Number, Email Address, Spelling of Name. If you do not have correct details
registered in Griffith College Dublin you will not receive emails, texts or post
from the college and if your name has been spelled incorrectly it will appear
so on your parchment when you graduate. Please contact either CA to correct
this.
Please ensure that your fees are paid. Without payment of fees you will not
receive your results and you will not be eligible to graduate. Please contact
the Student Fee's Office in D006 to pay fees.
Student Visa queries in relation to attendance must be directed to the
International office and not the CA.
If you wish to apply for a subject deferral please contact the faculty office. You
cannot defer retrospectively.
If you have been ill, please bring a medical certificate to the faculty office on
your first day back. This ensures that your attendance rate will be updated
and also supports requests for deferrals.
Important Contacts
Library Contact Details
Robert McKenna
Head Librarian
robert.mckenna@gcd.ie / 01 4150490
Library
library@gcd.ie / 01 4150 490
Griffith College Library is located on the second floor of the main building near the Law
School office.
IT Department Contact Details
helpdesk@gcd.ie 01 4150499
Students Union Contact Details
Students' Union President su.president@gcd.ie / 01 4150418
Student Counsellor Contact Details
Carole Wardlaw
carolewardlaw@hotmail.com
0879729335
4. Academic Calendar
Semester 1 Timetable CMPG (Group A) 2013-14

Tuesday
9:30am -12:00pm
Week 1
Week 2
Week 3
Week 4
Week 5
1:00pm - 3:00pm
Wednesday
12:30pm - 3:00pm
3:30pm - 6:00pm
Thursday
10:00am - 12:30pm
1:30pm - 4:00pm
September 30
Sound Design
CF
JS003
Games
Development
TD
CAV004
Music Composition
MK
JS003
Music & Image

RP/JJH
JS003
DS
WLA
Music Technology
TMcD
WLA
Sound Design
CF
JS003
Games
Development
TD
CAV004
Music Composition
MK
JS003
Music & Image

RP/JJH
JS003
DS
WLA
Music Technology
TMcD
WLA
Sound Design
CF
JS003
Games
Development
TD
CAV004
Music Composition
MK
JS003
Music & Image

RP/JJH
JS003
DS
WLA
Music Technology
TMcD
WLA
Sound Design
CF
JS003
Games
Development
TD
CAV004
Music Composition
MK
JS003
Music & Image

RP/JJH
JS003
DS
WLA
Music Technology
TMcD
WLA
Sound Design
CF
JS003
Games
Development
TD
CAV004
Music Composition
MK
JS003
Music & Image

RP/JJH
JS003
DS
WLA
Music Technology
TMcD
WLA
October 7
October 14
October 21
October 28
Week 6
November 4
Week 7
Tuesday
9:30am -12:00pm
Sound Design
CF
JS003
1:00pm - 3:00pm
Games
Development
TD
CAV004
Wednesday
12:30pm - 3:00pm
Music Composition
MK
JS003
3:30pm - 6:00pm
Music & Image
RP/JJH
JS003
Thursday
10:00am - 12:30pm
DS
WLA
1:30pm - 4:00pm
Music Technology
TMcD
WLA
DS
WLA
Music Technology
TMcD
WLA
November 11
Week 8
Sound Design
CF
JS003
Games Development
TD
CAV004
Music Composition
MK
JS003
Music & Image

RP/JJH
JS003
Sound Design
CF
JS003
Games Development
TD
CAV004
Music Composition
MK
JS003
Music & Image

RP/JJH
JS003
DS
WLA
Music Technology
TMcD
WLA
Sound Design
CF
JS003
Games Development
TD
CAV004
Music Composition
MK
JS003
Music & Image

RP/JJH
JS003
DS
WLA
Music Technology
TMcD
WLA
Sound Design
CF
JS003
Games Development
TD
CAV004
Music Composition
MK
JS003
Music & Image

RP/JJH
JS003
DS
WLA
Music Technology
TMcD
WLA
November 18
Week 9
November 25
Week 10
December 2
Week 11
December 9
Sound Design
CF
JS003
Games Development
TD
CAV004
Music Composition
MK
JS003
Music & Image

RP/JJH
JS003
DS
WLA
Music Technology
TMcD
WLA
Week 12
December 16
Sound Design
CF
JS003
Games Development
TD
CAV004
Music Composition
MK
JS003
Music & Image

RP/JJH
JS003
DS
WLA
Music Technology
TMcD
WLA
Semester 2 Timetable CMPG (Group A) 2013-14

Tuesday
9:30am - 12:00pm
Week 13
Week 14
Week 15
Week 16
Week 17
1:00pm - 3:00pm
Wednesday
12:30pm - 3:00pm
3:30pm - 6:00pm
Thursday
10:00am - 12:30pm
1:30pm - 4:00pm
February 3
Sound Design
CF
JS003
Interactive
Storytelling
TD
CAV004
Music Composition
MK
JS003
Music & Image

RP/JJH
JS003
DS
WLA
Music Technology
TMcD
WLA
Sound Design
CF
JS003
Interactive
Storytelling
TD
CAV004
Music Composition
MK
JS003
Music & Image

RP/JJH
JS003
DS
WLA
Music Technology
TMcD
WLA
Sound Design
CF
JS003
Interactive
Storytelling
TD
CAV004
Music Composition
MK
JS003
Music & Image

RP/JJH
JS003
DS
WLA
Music Technology
TMcD
WLA
Sound Design
CF
JS003
Interactive
Storytelling
TD
CAV004
Music Composition
MK
JS003
Music & Image

RP/JJH
JS003
DS
WLA
Music Technology
TMcD
WLA
Sound Design
CF
JS003
Interactive
Storytelling
TD
CAV004
Music Composition
MK
JS003
Music & Image

RP/JJH
JS003
DS
WLA
Music Technology
TMcD
WLA
February 10
February 17
February 24
March 3
Week 18
Week 19
Week 20
Week 21
Week 22
Week 23
March 10
Tuesday
9:30am - 12:00pm
Sound Design
CF
JS003
March 17
March 24
Wednesday
1:00pm - 3:00pm
12:30pm - 3:00pm
Interactive
Music Composition
Storytelling
MK
TD
JS003
CAV004
Assignment Week
3:30pm - 6:00pm
Music & Image
RP/JJH
JS003
Music & Image

RP/JJH
JS003
Thursday
10:00am - 12:30pm
DS
WLA
1:30pm -4 :00pm
Music Technology
TMcD
WLA
DS
WLA
Music Technology
TMcD
WLA
Sound Design
CF
JS003
Interactive
Storytelling
TD
CAV004
Music Composition
MK
JS003
Sound Design
CF
JS003
Interactive
Storytelling
TD
CAV004
Music Composition
MK
JS003
Music & Image

RP/JJH
JS003
DS
WLA
Music Technology
TMcD
WLA
Sound Design
CF
JS003
Interactive
Storytelling
TD
CAV004
Music Composition
MK
JS003
Music & Image

RP/JJH
JS003
DS
WLA
Music Technology
TMcD
WLA
Sound Design
CF
JS003
Interactive
Storytelling
TD
CAV004
Music Composition
MK
JS003
Music & Image

RP/JJH
JS003
DS
WLA
Music Technology
TMcD
WLA
March 31
April 7
April 14
Week 24
April 21
Sound Design
CF
JS003
Interactive
Storytelling
TD
CAV004
Music Composition
MK
JS003
Music & Image

RP/JJH
JS003
DS
WLA
Music Technology
TMcD
WLA
Week 25
April 28
Sound Design
CF
JS003
Interactive
Storytelling
TD
CAV004
Music Composition
MK
JS003
Music & Image

RP/JJH
JS003
DS
WLA
Music Technology
TMcD
WLA
Semester 1 Timetable CMPG-S (Group B) 2013-14
Week 1
Week 2
Week 3
Week 4
Week 5
Tuesday
12:30pm - 3:00pm
3:30pm - 6:00pm
Wednesday
9:30am - 12:00pm
1:00pm - 3:00pm
Thursday
10:00am - 12:30pm
1:30pm - 4:00pm
Sound Design
CF
JS003
Music & Image

RP/JJH
JS003
Music Composition
MK
JS003
Games Development
TD
A107
Music Technology
TMcD
WLA
DS
WLA
Sound Design
CF
JS003
Music & Image

RP/JJH
JS003
Music Composition
MK
JS003
Games Development
TD
A107
Music Technology
TMcD
WLA
DS
WLA
Sound Design
CF
JS003
Music & Image

RP/JJH
JS003
Music Composition
MK
JS003
Games Development
TD
A107
Music Technology
TMcD
WLA
DS
WLA
Sound Design
CF
JS003
Music & Image

RP/JJH
JS003
Music Composition
MK
JS003
Games Development
TD
A107
Music Technology
TMcD
WLA
DS
WLA
Sound Design
CF
JS003
Music & Image

RP/JJH
JS003
Music Composition
MK
JS003
Games Development
TD
A107
Music Technology
TMcD
WLA
DS
WLA
September 30
October 7
October 14
October 21
October 28
Week 6
November 4
Week 7
Tuesday
12:30pm - 3:00pm
Sound Design
CF
JS003
3:30pm - 6:00pm
Music & Image
RP/JJH
JS003
Wednesday
9:30am - 12:00pm
Music Composition
MK
JS003
1:00pm - 3:00pm
Games Development
TD
A107
Thursday
10:00am - 12:30pm
Music Technology
TMcD
WLA
1:30pm - 4:00pm
DS
WLA
Music Technology
TMcD
WLA
DS
WLA
November 11
Week 8
Sound Design
CF
JS003
Music & Image

RP/JJH
JS003
Music Composition
MK
JS003
Games Development
TD
A107
Sound Design
CF
JS003
Music & Image

RP/JJH
JS003
Music Composition
MK
JS003
Games Development
TD
A107
Music Technology
TMcD
WLA
DS
WLA
Sound Design
CF
JS003
Music & Image

RP/JJH
JS003
Music Composition
MK
JS003
Games Development
TD
A107
Music Technology
TMcD
WLA
DS
WLA
Sound Design
CF
JS003
Music & Image

RP/JJH
JS003
Music Composition
MK
JS003
Games Development
TD
A107
Music Technology
TMcD
WLA
DS
WLA
November 18
Week 9
November 25
Week 10
December 2
Week 11
December 9
Sound Design
CF
JS003
Music & Image

RP/JJH
JS003
Music Composition
MK
JS003
Games Development
TD
A107
Music Technology
TMcD
WLA
DS
WLA
Week 12
December 16
Sound Design
CF
JS003
Music & Image

RP/JJH
JS003
Music Composition
MK
JS003
Games Development
TD
A107
Music Technology
TMcD
WLA
DS
WLA
10
Semester 2 Timetable CMPG-S (Group B) 2013-14
Week 13
Week 14
Week 15
Week 16
Week 17
Tuesday
12:30pm - 3:00pm
3:30pm - 6:00pm
Wednesday
9:30am - 12:00pm
1:00pm - 3:00pm
Thursday
10:00am - 12:30pm
1:30pm - 4:00pm
Sound Design
CF
JS003
Music & Image

RP/JJH
JS003
Music Composition
MK
JS003
Interactive Storytelling
TD
A107
Music Technology
TMcD
WLA
DS
WLA
Sound Design
CF
JS003
Music & Image

RP/JJH
JS003
Music Composition
MK
JS003
TD
A107
Music Technology
TMcD
WLA
DS
WLA
Sound Design
CF
JS003
Music & Image

RP/JJH
JS003
Music Composition
MK
JS003
TD
A107
Music Technology
TMcD
WLA
DS
WLA
Sound Design
CF
JS003
Music & Image

RP/JJH
JS003
Music Composition
MK
JS003
TD
A107
Music Technology
TMcD
WLA
DS
WLA
Sound Design
CF
JS003
Music & Image

RP/JJH
JS003
Music Composition
MK
JS003
TD
A107
Music Technology
TMcD
WLA
DS
WLA
February 3
February 10
February 17
February 24
March 3
11
Week 18
Week 19
Week 20
Week 21
Week 22
Week 23
March 10
Tuesday
12:30pm - 3:00pm
Sound Design
CF
JS003
3:30pm - 6:00pm
Music & Image
RP/JJH
JS003
March 17
March 24
Wednesday
9:30am - 12:00pm
Music Composition
MK
JS003
1:00pm - 3:00pm
TD
A107
Thursday
10:00-12:30
Music Technology
TMcD
WLA
1:30-4:00
DS
WLA
Music Technology
TMcD
WLA
DS
WLA
Assignment Week
Sound Design
CF
JS003
Music & Image

RP/JJH
JS003
Music Composition
MK
JS003
TD
A107
Sound Design
CF
JS003
Music & Image

RP/JJH
JS003
Music Composition
MK
JS003
TD
A107
Music Technology
TMcD
WLA
DS
WLA
Sound Design
CF
JS003
Music & Image

RP/JJH
JS003
Music Composition
MK
JS003
TD
A107
Music Technology
TMcD
WLA
DS
WLA
Sound Design
CF
JS003
Music & Image

RP/JJH
JS003
Music Composition
MK
JS003
TD
A107
Music Technology
TMcD
WLA
DS
WLA
March 31
April 7
April 14
Week 24
April 21
Sound Design
CF
JS003
Music & Image

RP/JJH
JS003
Music Composition
MK
JS003
TD
A107
Music Technology
TMcD
WLA
DS
WLA
Week 25
April 28
Sound Design
CF
JS003
Music & Image

RP/JJH
JS003
Music Composition
MK
JS003
TD
A107
Music Technology
TMcD
WLA
DS
WLA
12
*Bank holiday lectures will be rescheduled by arrangement between lecturers and students
**To be held if and as required
13
5. Guidelines & Regulations

Faculty information and regulations are set out below. Music production students are bound
by these and all College policies and regulations as outlined in the Student Handbook and
the Quality Assurance Handbook available on the College website.
Attendance
Attendance is compulsory. The Faculty monitors your attendance throughout the

year. The College requires (and for non-EU students visas, the Irish Government
requires) that students attend no less than 85% of all scheduled classes. Please
note that any sustained period of unexplained or unauthorised absence or lack of
participation will have to be investigated and may be subject to disciplinary
procedures and / or reported to the relevant authorities if applicable. Please note that
the College is obliged to communicate non-EU students attendance to the Irish
Government Department of Justice. Poor attendance may also be taken into
account if your academic work is of borderline status at the end of the year and/or
where a reference is required.
Absences
If there is a legitimate reason for missing a scheduled class, you must notify the Course
Coordinator (B002). A medical certificate must support all absences due to illness. Medical
certificates must be submitted to the Course Coordinator within 5 working days of the
initial illness. Medical certificates submitted after this may not be accepted.
Holidays
You are required to attend all lectures, tutorials, workshops, class tests, formal exams, etc.
and are not permitted to take holidays during the academic year, except during designated
semester breaks (see Academic Calendar above).
Participation
All students are not only required to attend but are also required to participate in all
tutorials, presentations, workshops and any other classes and coursework
timetabled for the programme of study.
To ensure appropriate participation, students are also expected to provide
themselves with any materials (such as text books, manuals, notebooks, pens,
calculators, etc.) stipulated by the lecturers/Faculty as essential to the course of
study.
Class Timetables
Class timetables are available from the Faculty Office (B002). Please note that
timetables may be subject to change particularly at the beginning of each semester
and it is therefore important that you regularly consult the Faculty.
Student Code of Conduct

All students are bound by the Student Code of Conduct, which outlines the
behavioural standards expected of all Windmill Lane Recording/Griffith College
Dublin students. In broad terms, this Code states that all students are expected to;
be considerate to the needs of fellow students, staff and any authorized

visitors to the College
not engage in any conduct which is intended to, or is likely to, disrupt
teaching, learning, study, research, ceremonies, recreational activities,
meetings, examinations, administration or other activities undertaken by or
within the College or organized as part of its approved activities.
respect the property of the College and not to use it for unapproved purposes.
In an academic community, students, Faculty members, and other staff have

responsibility for maintaining an appropriate learning environment and treating each
other with understanding, dignity and respect.
What is considered disruptive behaviour?
Talking without permission, repeatedly interrupting, being late, passing notes, using
mobile phones/mp3 players, using laptops without permission, making personal
insults, using inappropriate language, physical threats or actions, and refusal to
comply with Faculty or staff direction.
Students should consult the Student Code of Conduct for more detailed
information.
Computer Use
The Colleges Email & Network Acceptable Use Policy (AUP) defines proper and
improper email and network usage behaviour and is in place in order to protect your
rights as a network user to privacy, fair use and protection from offensive, obscene
or abusive material; the needs of the College network community to share resources
in an effective way that will benefit all users and avoid excessive or unnecessarily
large traffic; and to protect the safety and integrity of our network.
As a WLR/GCD student you must employ the WLR/GCD network and computing
resources as tools to conduct your coursework in an efficient, ethical and lawful way
and adhere to the guidelines outlined in the policy.
15
Contact Details
It is your responsibility to inform the Course Administrator of any changes to
your contact details such as address, email address, phone number, etc.
Faculty Handbooks
A number of Handbooks have been developed by the Faculty to support you.
These handbooks are available on Moodle and include:
Steps to Study Success
Career Guidance and Professional Development
Guide to the Harvard Referencing System
Additionally, Griffith College has been heavily involved in the development of a Code
of practice and guidelines for the provision of education to international students.
Details of this code can be found at
http://www.iheqn.ie/_fileupload/File/IHEQN_62439738.pdf
Academic Misconduct
Definitions and Penalties
Minor Academic Misconduct refers to:
Plagiarism
Collusion
Unfair advantage
A third or further minor academic infringement will be deemed a major academic
misconduct.
Penalty for Minor Academic Misconduct
First Offence:
Zero in that element of coursework name on database- must
resubmit- element capped at 40%. Fails if not submitted within prescribed time.
Second Offence:
Zero of entire piece of coursework- noted on database- must
resubmit- entire piece capped at 40%. Fails if entire piece of coursework not submitted
within prescribed time.
Third Offence:
Categorised as Major Academic Misconduct.
16
Major Academic Misconduct refers to:

Flagrant cases of plagiarism and collusion (even those occurring for the first time)
All cases of misrepresentation
Fraud
Impersonation
Cheating
Penalty for Major Academic Misconduct
First Offence:
Zero for coursework and examination- name on database- student
registered for second sitting on module- capped at pass- record kept on file removed on
programme completion.
Second Offence:
Suspended for one complete semester-noted on database- given
opportunity to retake all modules in subsequent semester- capped at pass- permanent
record kept on file
Third Offence:
Categorised as Gross Academic Misconduct.
Gross Academic Misconduct refers to:

Impersonation at a written exam
Major academic misconduct third offence
Penalty for Gross Academic Misconduct:
Student expelled-not permitted to re-enrol for 5 years- permanent record kept on file
Plagiarism:
Any student who submits coursework for credit (i.e. an assignment or an examination) that is
the work of another person or that is copied from an existing work, who colludes in the
production or plagiarized work or who knowingly allows their work to be used in this way, will
be disciplined and penalized. The College regards plagiarism as an extreme violation of
acad
17
6. Your Coursework
As a student on a music programme, you must successfully complete all modules.
The course outlines and associated assignments and their due dates are provided
later in this Handbook. Please note the following regulations for submitting
assignments.
Rules for submitting assignments:
1. Assignment Regulations
All assignments must be typed and a soft copy of this material must
accompany your written material.
Your lecturer may also require that your assignment be submitted through
Turn It In software.
Please staple assignment together and do not use any form of folder or
binding.
All assignments must have an Assignment Cover Sheet, which is available
from Moodle and the Faculty Office. This cover sheet must be completed prior
to submission.
All students must submit their assignments to the Faculty Office at the
designated day and time.
Students must produce two hard copies of their assignment and one
soft copy on the submission date and sign the Assignment Submission
Form as confirmation of submission.
A student who fails an assignment will be required to submit a repeat
assignment.
2. Deadlines
Assignment submission deadlines are strictly observed. Unless you have been
granted an extension, late submission of an assignment will result in a
reduction in your grade:
Your mark will be deducted to 40% for submitting assignment outside the specified
times on the date of submission.
Failure to submit an assignment within 5 working days of the deadline will result in
an overall grade of NP (Not Presenting) in that subject, regardless of how you
perform in the subsequent exam. If you receive a grade of NP you will have to
repeat that subject at the next available opportunity. Please note that all repeat
work is capped at the minimum pass mark of 40%.
3. Extensions
The granting of an extension on the submission date of coursework is a mechanism
to support a student who, through no fault of his/her own, is experiencing difficulties
in completing his/her assessed work on time. Extensions will only be granted by the
18
Year Head under extenuating circumstances (illness, bereavement, etc.). Medical

certificates must be submitted to the Faculty within 5 working days of the
initial illness. Computer, disc or printer failures are not legitimate reasons for
requesting an assignment extension.
The period of an extension granted to one student shall not normally extend beyond
the date of the return of corrected coursework to another student. Extensions can
only be granted by the Year Head or Course Administrator.
If a student wishes to apply for an extension on the submission date for coursework
they must complete an Application for Extension on Deadline for Submission of
Assessed Work (QA EA12) which is available from the Faculty Office (B002).
Having completed the application form the student shall attach any supporting
documentation relevant to his / her application and shall submit it to the course
administrator.
A student can apply for an extension on the submission of his / her assessed work
normally up to one week prior to the submission date. Applications received after this
time shall be considered in terms of their merit and the nature of the circumstances
Students should be aware that there is no automatic entitlement to an extension and,
should an extension not be granted, they shall be subject to the faculty's late
submission penalties if they do not submit their assessed work on time
Authorisation for granting an extension rests with the Year Head or Course
Administrator.
Due to the time restrictions involved in the submission of assessments a student can
normally only appeal the outcome of his/her application if he/she requested the
extension at least one week before the submission date and if he/ she appeals, in
writing, to the Programme Leader within one working day of having his/her
application refused
Work submitted late without documented approval of the Faculty will be penalised.
4. Feedback & Results

When your assignment has been corrected, you will receive notification of your
results and feedback from your lecturer on your performance. All assignment results
and feedback will be given before the end of semester. You will get an overall
assignment result for each module (this is the overall result from all your
assignments for that module). This mark will appear on the notice board alongside
your student number at the end of semester. All exam and coursework results
throughout the academic year are provisional until formally approved at the summer
and august exam boards.
If you fail an assignment (or do not submit one) you will be required to submit a
repeat assignment. Please note that all repeat work is capped at 40%.
19
5. Administrative re-check of assessment results
A re-check refers to the operation of checking the administrative recording and

addition of marks; it does not involve any review of assessment performance.
Request for re-checks must be received not later than five working days after the
results have been released on Moodle by the Examinations Office. The request must
be submitted on the appropriate form to the Course Administrator, together with the
receipt of fee payment of 100. In the event of an error being found, the fee will be
refunded.
6. Review of results
Students are afforded the opportunity of discussing their results with lecturing staff.
Such consultations are aimed to give guidance regarding future performance.
Requests for a consultation meeting must be submitted in the appropriate manner as
outlined in faculty guidelines. The Course Administrator will make all relevant
assessment material available for viewing. An administrative re-check would be
carried out by the Course Administrator prior to the lecturer(s) meeting with the
student. The lecturer(s) shall produce the assessed work and demonstrate to the
student the basis on which the marks were awarded.
7. Plagiarism
Any student who hands in assignment work that is not his/her own, or that is copied
from existing work will be penalised heavily. You must read and sign the plagiarism
disclaimer on the Assignment Cover Sheet that accompanies each assignment you
submit. Any material used in your assignment should be properly identified and
referenced using the Harvard Referencing System and an appropriate bibliography
(see earlier section).
20
7. Examinations, Grading Systems & Results

Examinations:
Exams are held three times each year, at the end of Semester 1, at the end of
Semester 2 (see academic calendar below for further information on dates) and
repeat exams during August.
It is the responsibility of each student to be aware of Colleges Examination
Regulations, which are available for viewing in the in the Student Handbook. Any
breach of these regulations will result in disciplinary measures.
All exam and coursework results throughout the academic year are provisional until
formally approved at the summer and august exam boards. Please note that all
repeat exam results are capped at 40%.
Grading System
All individual assessments such as exam, coursework, etc. are graded as a
percentage. The percentage pass mark required for any piece of assessment is
40%.
Where a module contains an element of coursework (CW) as well as an end of
module exam, a pass mark is where the overall weighted percentage is 40% or
greater and both component percentages are 35% or greater.
In some cases a percentage between 35% and 39% can be compensated by other
module results.
Generally if you have an overall percentage in any component of less than 40% you
should contact your programme leader.
If you have not passed a module:
You will have received less than 35% in at least one component
(assignment/exam) within the module.
Normally you must resubmit assignments and/or attend examinations in which

you have received less than 40%, at the next available sitting.
All repeat results are capped at 40%.
You are not required to retake any assignment or examination in which you
have received 40% or over.
21
Passing a module by Compensation

A student is only eligible to pass a module by compensation if:
a) the overall percentage result for the module is between 35-39 i.e. a D grade (must
also be 35+ in both exam and coursework)
and
b) he/she has passed all other modules in the same stage (e.g. Year 1) on the first
attempt (in exceptional circumstances the exam board can allow a repeat sitting as a
first attempt.)
and
c) he/she must have scored (double the difference in another module or
combination of modules, credits permitting).
Example; Microeconomics Overall 37%, Macroeconomics overall 46% . (as 6% is at
least double 3% and credits for both modules are the same, the student can be
compensated.) Double the difference approach also works by adding up
percentages in excess of 40 in all other modules (credits permitting).
Please note a student cannot compensate more than 1/3 of the credits in any
Stage (i.e. 20 credits in a 60 credit stage).
Any individual component (exam or coursework) in which a student has achieved
40+ does not have to be repeated, regardless of the result in the other component.
If you cannot pass the module by compensation, you must resubmit the
assignment(s) and/or attend the examination(s) in which you have received less than
40%, at the next available sitting.
NP Grade
If you have received an NP grade:
You have failed to submit assignments and/or failed to attend an examination

and your Course Administrator has received no official explanation
accompanied by official documentation regarding this.
You must submit assignments and/or attend examinations at the next

available sitting.
All repeat results are capped at 40%.
You are not required to submit any assignment or retake any examination in
which you have already received 40% or over in that piece of assessment.
22
I Grade (Deferral)
If you have received an I grade:
You have submitted documentation to your Course Administrator deferring the

submission of an assignment and/or attendance at an examination due to
illness or personal circumstances.
You must submit any assignment and/or attend examination at the next
available sitting.
Your result(s) will not be capped at 40%.
You are not required to submit assignments or attend examinations in which

you have already received 40% or over in that piece of assessment.
Final Year Results

The Percentage Point Average (PPA) of your final year modules will determine your
overall degree award classification. Please note if you fail any module in your
final year you will not be eligible to obtain an honours award classification.
23
8. Frequently Asked Questions

Q.
If I get 40% in Course Work (CW) and 20% in Exam (overall Fail) do I
repeat both pieces of assessment?

A.
You only have to repeat the exam as you have successfully passed the CW
component.
Q.
If I get 35% in an Exam and 25% in Course Work (CW) do I repeat both
pieces of assessment?
A.
Yes as you have an overall fail and both exam and CW are below 40%.
Q.
If I receive 38% in an Exam and 33% in CW do I repeat both?
A.
Yes your overall result will be a fail and you will have to repeat both as you
scored below 40% on both.

Q.
If I receive 38% in an Exam and 35% in CW do I have to repeat both
pieces of assessment?
A.
In this case your overall percentage will be in the range 35% to 39% and
whether you have to repeat will depend on your other results.

Q.
If I get 70% in my Exam and 35% in my CW do I have to repeat both
components?
A.
No you will not have to repeat any component as would have received an
overall percentage greater than 40%.
If you require any clarification on exam results and grades please

contact your Year Head or Programme Leader.
24
Results:
Results are published on the Student Intranet within one week of the completion of
the Examinations Board. Please check the Music Faculty pages on the student
Intranet for the results release date closer to the Examination period. Results will be
listed by student number.
In addition to publication of your results on the Student Intranet, you will also be sent
your Transcript of Results by post*.
Your transcript will indicate:
The percentage you have achieved in each component (examination /
assignment) of each module for which you are registered.
The overall percentage you achieved in each module.
The overall award achieved, where applicable.
Where appropriate, a recommendation to discuss your results with

Faculty staff.
Posting of Transcripts:
It is your responsibility to supply the College with an up to date address for
posting out your transcripts. Results will be posted to the recorded home
address. It shall not be a subsequent ground for appeal that the student failed to
receive the transcript of results, which was sent to the last home address given by
the student. If your contact details change it is your responsibility to inform your
Course Administrator by means of a Change of Address Form which can be
obtained from the faculty office. Change of Address forms must be submitted at
least one month prior to an Examination Board meeting. The Faculty will then record
this information centrally.
Deferrals
A deferral is where a candidate has been granted permission by the Programme
Leader not to take one or more assessment elements on the date scheduled for
assessment due to documented circumstances. Such permission usually indicates
the alternative assessment arrangement(s). Please note that if deferring an exam
component or assignment component you must achieve 40% or more in the other
component for it to be brought forward to the next sitting, if unsure please ask your
course administrator for clarity.
Students may only defer on the following grounds:
a) Illness.
b) Bereavement.
c) Circumstances, beyond the student's control, which cause an extended
period of absence during the teaching term.
25
To apply for a deferral you must complete a Student Record Amendment Form
(SRAF), available from the Faculty Office (B002), and submit it to your Programme
Leader for approval along with relevant supporting documentation. The onus is on
you to make your case for obtaining a deferral.
If the student wishes to defer a further sitting he/she must submit another SRAF to
his/her Programme Leader.
Examination Board Meetings
Formal Examination Board meetings are held twice a year to consider students
results once in June (Summer Board) and again in September (Autumn Board). At
the Examination Board meeting, students provisional results are reviewed and
formalised by the internal and external examiners and validating body verifier.
Results are normally made available to students on the Student Intranet within one
week of the Examination Board meeting.
Any results released following an Internal Review (e.g. in January) meeting
remain provisional until considered at the official Examination Board in June.
Grounds for an Appeal

A student wishing to make an appeal against a result(s) may do so, normally on the
following grounds:
a) The student believes that there was a non-academic irregularity in the manner in
which his/her assessments were conducted
b) The student wishes to appeal against a decision to penalise him/her on the
grounds of academic misconduct
c) The student wishes to present information of mitigating circumstances which were
not known to the Examination Board. In this case the student must also show good
reason why such circumstances could not have been made known prior to the
Examination Board meeting
Disagreement with the academic judgement of the Examination Board cannot in
itself constitute grounds for appeal.
A student may lodge an Appeals Form (AP1) with the Quality Assurance Officer,
Ms.Treasa Dempsey, treasa.dempsey@gcd.ie within 10 days of receiving
notification of the outcome of the examination board or the disciplinary hearing.
26
Progression Regulations:
If you fail in one subject, you may be allowed to progress to the next stage of your
course. You will however, be required to repeat this module at the next available
sitting.
If you fail in more than one module, you will not be allowed to progress further unless
you receive special permission from the programme leader. You will be required to
repeat the failed modules at the next available sitting.
Important points to note if you are repeating a module(s):
NB: Under Music Faculty regulations, students who are required to repeat a
module (exam and/or coursework) in a new academic year must firstly meet
their Programme Leader before registration. Normally if you have failed an
exam you should attend classes for that subject where possible if the
timetable permits.
Capping:
All repeat results / 2nd attempts are capped at the pass mark - this means that
the maximum mark you can get for a repeat component is 40%.
Maximum permitted number of attempts:
Normally, the maximum permitted number of attempts to pass is FOUR. You
need special written permission from the Faculty Head if you require a
further attempt.
27
9. Module Assessment Breakdown
Module
Project
Practical
Assign
Exam
Credits
Music Technology (Semester 1

and 2)
100
10
(Semester 1 and 2)
100
10
Music and Image

(Semester 1 and 2)
100
10

(Semester 1 and 2)
100
10

(Semester 1 and 2)
100
10
Games Development (Semester 1)
50
50
Interactive Storytelling (Semester

2)
40
60
28
10. Course Content

Module 1:
Music Technology
Stage
Semester
Module Title
Module Number
Module Status
Module ECTS Credits
Module NFQ Level
Pre-Requisite Module Titles
Co-Requisite Module Titles
Capstone Module
List of Module Teaching Personnel
Contact Hours
Non-contact Hours
Total
Effort
(hours)
72
128
200
Independen
t Work
96
Placement
Assignment
24
Seminar
Tutorial
Practical
Lecture
48
1
1, 2
Music Technology
1
Mandatory
10
6
None
No
Tom McDonnell
32
200
Allocation of Marks (Within the Module)

Continuous Assessment
Total
100%
100%
Percentage
Contribution
Intended Module Learning Outcomes
On successful completion of this module the learner will be able to:

i.
Describe the role, function and interconnections of the hardware and software
components within a computer music production suite.
ii.
Demonstrate and apply the principles of MIDI - i.e. channel voice and controller
messages.
iii.
Demonstrate recording, editing and mixing skills in a digital audio workstation.
iv.
Create a composition comprised of midi sequenced synthesised and sampled

material as well as live recorded sounds (audio / instruments).
29
Module Objectives
The module sets out to enable learners to set up the hardware and software of a music
production suite to record, edit and mix. It provides a foundation in MIDI, audio and music
technology.
Module Curriculum
The computer as a music production platform
Hardware and software requirements for professional recording platforms.
Correct setup procedures the basic components in a typical workstation
Hardware connections, USB, firewire, audio and MIDI interfaces
Installing applications and drivers
Native vs. TDM processing
Hardware buffer settings
AMS, MMS
Introduction to the DAW
Exploring the interface
Creating tracks, types of tracks (MIDI, Instrument, Audio, Aux)
Types of editors, absolute vs. relative
Timebases
Edit and mixer windows.
Recording on a DAW
Audio and MIDI recording
Latency, monitoring
Metronome
File hierarchy
Loop recording
Introduction to virtual instruments
Synthesizers, drum machines and samplers
MIDI Messages
Control Voltage
The MIDI Standard
Channels, channel voice messages
Continuous controller messages
System messages, MTC
Rewire applications
Planning and building MIDI mixers
Sampling
Recording, importing and editing
Keygroups, velocity zones
Crossfading, original pitch
30
Key follow
Modulation matrix
Assigning multiple outputs
Digital Audio
A/D, D/A conversion
Sampling frequency
Bit depth and dynamic range
Sample rate conversion, dither
Synthesis
VCO, VCA, VCF

Low frequency oscillators
Resonance
Types of synthesis
The Virtual Patchbay

I/O setups for professional systems
Multichannel configurations
Customizing digital and analogue I/O
Reading Lists and Other Learning Materials
Essential
Hosken, D., 2011. An introduction to music technology, New York: Routledge.
White, P., 2002. Recording and production techniques, London: SMT.
Recommended
Rumsey, F., 2004. Desktop audio technology: digital audio and MIDI principles, Oxford:
Focal.
Izhaki, R., 2008. Mixing audio: concepts, practices and tools, Oxford; Focal Press.
Rhind-Tutt, M., 2009. Music technology from scratch, London: Rhinegold Education.
Learners will be directed to appropriate journal literature and online material such as:
Computer Music Journal; Electronic Musician; Future Music; Sound on Sound; The Mix; The
Wire; Create Digital Music; emusician,
Module Teaching and Learning Strategy

The module is delivered using a combination of lectures and tutorials. The lectures will take
place in lecture theatres and in the large recording studios, while the tutorials will take place
in editing suites, smaller recording studios or computer labs.
Through lectures and tutorials the learner will be guided through demonstrations of correct
procedures for connecting music technology hardware and software. Lectures will include
detailed practical demonstrations to illustrate a link between theory and practice. There will
31
also be a focus on the analysis of various techniques in the world of music technology as
well as analysis and demonstrations of various music and recording software packages.
Self-directed study, both practical and theoretical is an essential part of this module.
Learners will also be expected to demonstrate the working processes and techniques they
are introduced to in the module.
Lectures in this module will provide the underpinning knowledge for the Applications
Technology module.
Module Assessment Strategy
An initial composition will assess the learners ability to apply the technical skills learnt, and
establish competence in the use and application of music technology hardware and
software. This will account for 50% of the marks available for the module.
A second assignment, will require the learner to apply their new skills in a creative way,
presenting to peers and simulating more realistic studio challenges. In this assignment,
learners may synthesise original ideas with existing musical material to provide new or
alternative compositional outcomes. This will account for 50% of the marks available for
the module. The assignment will be accompanied by supporting written documentation.
The following represents the breakdown of marks for the module:
Weighting
MLOs
Assignment 1
50%
ii iii iv
Assignment 2
50%
i ii
Total
100%
Assessment
32
Module 2:
Stage
Semester
Module Title
Module Number
Module Status
Module ECTS Credits
Module NFQ Level
1
1,2
2
Mandatory
10
6

Capstone Module
Music Technology
No
Debbie Smith
Contact Hours
Non-contact Hours
72
128
Total
Effort
(hours)
200
Independent
Work
Placement
Assignment
Seminar
Tutorial
Practical
Lecture
48
None
24
128
200
Percentage
Contribution
ProTools 101
ProTools
110
Logic
Total
30%
40%
30%
100%

On successful completion of the module the learner will be able to:
i.
Use industry standard software to record and edit audio and MIDI.
ii.
Work with audio dynamic and time-based effects.
iii.
Mix and automate on a digital audio workstation.
iv.
Competently manipulate pitch and time.
v.
Employ successful workflow techniques.
33
Module Objectives
The objectives of the module are to enable the learner to use industry standard DAW
software to record and edit audio and MIDI, managing sessions from conception to final mixdown using appropriate effects, automation, corrective techniques, and professional
workflow.
Module Curriculum
Pro Tools 101:
Inside Pro Tools
Creating a session
Audio recording
Importing media into your session
MIDI recording
Selecting and navigating
Editing techniques
Mixing techniques
Finishing work
Pro Tools 110:
Interfacing with external hardware
Enhancing software and managing data
Recording MIDI & audio
Working with timebases, elastic audio, and virtual instruments
Editing and time-adjusting MIDI and audio
Editing audio
Automation
Mixing
Logic Pro 101
Introducing Logic
Recording audio
Editing audio
Recording MIDI
Programming and editing MIDI
Programming drums
Manipulating tempo and time stretching
Mixing
Recommended Texts
CTCL 2010, Pro Tools 101 Official Courseware
CTCL 2010, Pro Tools 110 Official Courseware
Nahmani, David 2010, Logic Pro 9 Professional Audio Production Berkley California
The module will be delivered using lectures in the Colleges Mac labs enabling DAW
software features and functionality to be demonstrated and practiced. Each learner will have
34
access to a Mac with the latest versions of Pro Tools and Logic Pro software installed, with
an audio Interface and a midi controller keyboard.
The formal lectures coupled with guided practical work will advance the learners knowledge
and skills using the comprehensive examples and materials outlined in the official
courseware materials described above.
Official courseware for Avid and Apple vendor qualifications include their own practical
exercises and online exams. These component exercises and exams will be
comprehensively covered in this module. The courseware exercises provide opportunities for
formative development through the feedback provided in respect of answers provided,
enabling learners to advance and perfect their understanding of the tools involved.
Each of the three components will be separately assessed by means of inlab time
constrained assessments.
Assessment
Weighting
MLOs
Avid Pro Tools Level 101
30%
i ii iii iv v
Avid Pro Tools Level 110
40%
Apple Logic Pro to Level 101
30%
i ii iii iv v
i ii iii iv v
Total
100%
Candidates may separately choose to complete the related industry qualifications in the
applications technology at any stage during or following completion of the CMPG
programme.
35
Module 3:
Music and Image
Stage
Semester
Module Title
Module Number
Module Status
Module ECTS Credits
Module NFQ level
1
1,2
Music and Image
2
Mandatory
10
6
None
Music Technology
No
Rory Pierce
JJ Harrington

Capstone Module
Contact Hours
Non-contact Hours
Total
Effort
(hours)
72
128
200
72
56

Assignment 1
Assignment 2
Percentage
Contribution
40%
Independent
Work
Placement
12
Assignment
12
Seminar
Tutorial
Practical
Lecture
48
60%
200
Total
100%

i.
ii.
iii.
iv.
v.
Integrate music with moving, and interactive image.

Work within industry-standard technical workflows for working to picture.
Demonstrate the stylistic and intellectual aspects of writing music for games.
Craft a musical soundscape to reinforce mood, action and dialogue.
Use equipment and software competently to marry images and music.
36
Module Objectives
This module aims to familiarise the learner with the essential processes involved in writing
for games; for different styles and their associated techniques. It also aims to expand the
learners musical vocabulary and analytical skills through studying the craft of composing to
image. This will be achieved foremost by exposing them to an extremely wide range of study
examples from early cartoon scores to current games. Learners learn the technical skills for
using software to marry images and music, and compose music to two short pieces.
Throughout the module the emphasis is placed on developing the learners practical
compositional techniques and their ability to write for both electronic and acoustic
instruments.
Module Curriculum
-
The role of music in relation to image
Analysis of music composed for film, TV, animation, gaming and sound art
Installations
The influence of sound design and visual editing on music
The technical and aesthetic restrictions when producing music for image
The contextual functions of music and sound within a film and the role of soundtrack
designers
Symbolic Identity of sound and instrumentation
Using software to create an original underscore/temp tracks
The use of voice/narrator and its position against visual images
Survey of Key Practitioners

Essential
Collins, K., 2008. Game Sound: An Introduction to the History, Theory, and Practice of Video
Game Music and Sound Design, MIT Press.
Marks, A., 2008. Game Development Essentials: Game Audio Development 1 Pap/Cdr.,
Delmar Publishing.
Recommended
Chion, M., 1994. Audio-vision: sound on screen, New York: Columbia University Press.
Marks, A., 2009. The complete guide to game audio: for composers, musicians, sound
designers, and game developers 2nd ed., Oxford: Focal Press.
Yewdall, D., 1999. Practical art of motion picture sound, Oxford: Focal Press.

This module will present the practical and creative/conceptual ideas in lectures, tutorials and
seminars. Learners will firstly analyse the process of bringing together sound and image by
active listening, and ultimately will apply these techniques through independent work.
37

The assessment for this module is designed to test the learners ability to engage with the
processes involved in composing and producing music for image. The assignments will
enable both creative and analytical processes, assessing the learners ability to first analyse
and interpret, and then to produce music compositions and visual messages.
Assessment will be through two assignments. The first is a brief composition to pre-existing
footage of approximately one minute in length (chosen by the module leader) which will be
representative of the gameplay of a first person shooter. The assignment examines extant
work in the field, recreating, developing or forming pastiches of existing material.
The second assignment is another composition to image in a different genre, a puzzle game.
For both assignments, a commentary of 1,000 words containing a discussion of the creative
rationale, strategies and techniques used in each will be submitted with the compositions
and finished piece.
Weighting
MLOs
Image Composition Assignment 1
40%
i ii iii iv v
Image Composition Assignment 2
60%
i ii iii iv v vi
Total
100%
Assessment
38
Module 4:
Stage
Semester
Module Title
1
1,2
Module Number
Module Status
Module ECTS Credits
Module NFQ Level
Capstone Module
Mandatory
10
6
Contact Hours
Non-contact Hours
Total
Effort
(hours)
72
128
200
36
24
Independen
t Work
Studio
Assignment
24
Seminar
Tutorial
Practical
Lecture
48
No
Claire Fitch
68
200

Percentage
Contribution
Assignment 1
Assignment 2
Total
50%
50%
100%

i.
Select, record, manipulate and generate sound effects for use in games
ii.
Correctly apply the processes and technology involved within the creation of original
foley sound effects.
iii.
Creatively manipulate sampled and synthetic audio.
iv.
Apply detailed concepts of sound design to their work
v.
Create a sonic landscape for a game.
39
Module Objectives
This module aims to provide learners with detailed knowledge of the technologies, and
practical skills involved in the production and post-production of sound for games. Learners
will examine the role of audio and visual effects in the creation of virtual environments in
linear, interactive and dynamically-changing applications.
Learners will explore the development of cinematic and gaming language; the use of sound
effects; the impact of technology on production and audience expectations and the
relationship between directors, sound designers and visual effects artists.
Learners will apply their skills in the creation of sound for interactive media and games. They
will experiment with various recording techniques and the hardware and software associated
with designing and implementing game audio and mobile applications. They will be
introduced to surround sound and multi-speaker setup, typically used in gaming contexts,
allowing them to explore creative uses of spatial presentation of audio. They will also be
presented with experimental multimedia and sonic practice. Learners will be required to
apply their skills creatively by developing a variety of different sound effects for a Foley
library.
Module Curriculum
Sound design in different disciplines: the role of sound in film, radio, online media, soundart,
and locative media.
Sound design in game based applications
Role of sound design in creating emotion, reflecting mood and underscoring action.
Concepts in sound design
- Diagetic / non diagetic sound
- Acousmeter
- Added value
- Audio visual contract
- Empathetic and anempathetic sound
- Temporalisation
- Vococentrism
- Syncresys
- External and internal logic
Foley
-
History and development of foley art

building a foley stage for a home studio
manipulation of everyday sounds
synthesis replicating organic sounds
40
Sound for games

- Dynamic audio concepts
- Adaptive Audio
- Interactive Audio
- Non-dynamic diegetic audio
- Adaptive diegetic audio
- Interactive diegetic sounds
- Adaptive non-diegetic sounds
- Interactive non-diegetic sounds
- Kinetic gestural interaction
- Technology
- Audio and game engine integration
Exploring textures and ambiences
- Interior and exterior sound
- Subliminal sounds
- Room tones
- Creation of otherworld textures
Essential
Ament, V., 2009. The foley grail: the art of performing sound for film, games, and animation,
Oxford: Focal Press/Elsevier.
Collins, K. 2008. Game Sound: An Introduction to the History, Theory, and Practice of Video
Game Music and Sound Design. MIT Press
Recommended
Brandon, A. 2004. Audio for Games: Planning, Process, and Production. New Riders Games
Marks, A. 2001. The Complete Guide to Game Audio: For Composers, Musicians, Sound
Designers, and Game Developers. Oxford: Focal Press
Wilde, M. D. 2004. Audio Programming for Interactive Games: The Computer Music of
Games. Oxford; Focal Press
41

Lectures will outline many aspects of the sound design environment, from radio to sounder,
and present a detailed consideration of its application within interactive media and video
games. The module will include analysis of practitioners and a variety of works from video
gaming. Emphasis will be placed on the development of soundtracks and the workflows
involved from inception to completion. Aesthetic and practical concerns in the creation of
interactive audio for games, will provide a key focus of the module.
Practical presentations in the studios will bolster theoretical knowledge with examples using
the hardware, visual equipment, and recording equipment used in sound design and Foley
art. Hardware and software associated with game programming will be presented here.
Practical sessions on recording Foley and creating sound effects will provide an integral part
of the module. Learners will be provided with the knowledge of the microphones used for
location recording, Foley and sound effects as well as 5.1 surround mixing. Learners will
also be presented with software to apply a soundtrack to a video game.
The assessment strategy for this module will include both individual and group work, to
encourage group and peer learning, and experimentation and creativity.
The first assignment will entail the development of a sound effects library (SFX Library),
without the use of conventional musical sounds, and this process and the resulting library
will, in turn, prepare the learners for the second assignment. This will account for 50% of
the available marks for the module.
The second assignment will entail integrating sound and effects into a video game, utilising
the SFX Library built up in the previous assignment, although not limited to that. This will
account for 50% of the available marks for the module.
Weighting
MLOs
Assignment 1 Sound Effects Library and

Programme Notes
50%
i ii iii
Assignment 2 Sound and Effects to a Game
50%
iii iv v
Total
100%
Assessment
42
Module 5:
Stage
Semester
Module Title
Module Number
Module Status
Module ECTS Credits
Module NFQ Level
Capstone module
1
1,2
5
Mandatory
10
6
Music Technology
None
No
Mick Kiely
Total
Non-contact Hours
Effort
(hours)
Contact Hours
72
128
Independent
Work
Placement
12
Assignment
12
Seminar
Tutorial
Practical
Lecture
48
200
96
32

Assignment 1
Assignment 2
Percentage
Contribution
50%
50%
200
Total
100%

i.
Apply both traditional and contemporary techniques for working to picture.
ii.
Work within the discipline of a brief
iii.
Identify and explain the relationship between music and image at different sections of
a game
iv.
Use industry standard electronic techniques for working to picture
v.
Identify and describe key milestones in the history of music in cinema, animation and
gaming.
43
Module Objectives
The module enables learners to explore, through lectures and tutorials the use of main
themes, motif use, underscoring and the harmonic languages of soundtracks. Coursework
consists of extended compositions to image, approximately 3-5 minutes in duration, chosen
to expand musical diversity and exploration of compositional styles, together with a written
commentary.
This module develops the learners compositional and technical skills as applied to writing to
image. The module encourages learners to be imaginative in composing to picture, enabling
learners to consider the various roles that music can have when used with visual media.
Technical skills for using software to marry images and music will also be advanced in this
module.
Module Curriculum
Techniques for working effectively to a brief
Monitoring progress and understanding why composers often re write

The Integration of the aesthetics of cinematic, video and music
Analysis of hit points in music composed for film and TV
The processes and practicalities involved in writing for visual media: music for film,
animation and games, advertising providing library music
Using dissonance, rhythmic development, complex time signatures etc.
Leitmotif and telegraphing
High art versus commercial approaches to composing to Image
Surround sound and its various formats.

Underscoring techniques and their contribution to the narrative
context of images and audience emotive response
Survey of Key Practitioners
Reading Lists And Other Learning Materials

Essential
Childs, G.W., 2006. Creating Music and Sound for Games 1st ed., Course Technology Inc.
Stevens, R. & Raybould, D., 2011. The Game Audio Tutorial: A Practical Guide to Sound
and Music for Interactive Games, Focal Press.
44
Recommended
Hoffert, P., 2007. Composing Music for Videogames, Web Sites, Presentations and Other
New Media Pap/Com., Berklee Press Publications.
Marks, A., 2008. Game Development Essentials: Game Audio Development 1 Pap/Cdr.,
Delmar Publishing.
The module will be delivered using interactive, demonstration centred lectures in classroom,
lab and studio settings as required. Learners will be able to experiment with their
compositions in individual and group settings. Tutorials providing individual and group
based support and direction will also be provided.
Module Assessment Module Assessment Strategy
The assessment for this module is designed to test the learners ability to explore and
understand the processes involved in composing and producing music to image. The
assignments that are set will enable both creative and analytical processes.
Continuous assessment will consist of two compositions for games specified by the module
leader. These will be submitted as recordings and synchronised to picture and scores, with
the assessment based on completeness, sound quality and production techniques as well as
compositional content.
The first assignment will be a pastiche based on existing sound tracks to assess the
learners familiarity with the extant repertoire, and the second will allow for more original
work.
Assessment
Weighting
MLOs
Assignment 1: Game composition 1
50%
i iii v
Assignment 2: Game composition 2
50%
ii iv
Total
100%
45
Module 6:
Games Development
Stage
Semester
Module Title
Module Number
Module Status
Module ECTS Credits
Module NFQ level
Capstone Module?
Contact Hours
Non-contact Hours
24
48
Total
Effort
(hours)
72
Independen
t Work
Placement
Assignment
Seminar
Tutorial
Practical
Lecture
18
1
1
Games Development
6
Mandatory
5
6
None
None
No
Tim Dawson
24
24
72
Final
Examination
Total

Continuous
Assessment
Percentage
Contribution
Project
Practical
50
50
100

i.
Use appropriate terminology to correctly Identify the atomic parts of a game (e.g.
Tokens, rules, dynamics etc.)
ii.
Classify games in accordance with their particular characteristic play mechanics and
features
iii.
Outline key considerations relating to game design
iv.
Identify and describe the various roles and responsibilities involved in a games
development project
v.
Develop informed personal views on the role of games within society
Module Objectives
46
The module introduces learners to a variety of computer games. Learners are encouraged
to explore, experience and evaluate games and their characteristic features. Learners are
introduced to how games function to construct experiences using rule design, play
mechanics, game balancing, and the integration of visual, audio and textual elements into
the game. Learners are introduced to the distinct roles performed by the different members
of games design teams, and are encouraged to develop defensible views of their own in
relation to the increasing role played by games within society.
Module Curriculum
Role and History of Games
Games in different social and cultural settings
Experimentation in play
Computer based games
Key development milestones and genres
Play Mechanics
What are the rules and how are they structured?
Creating a balance of obstacles/aids, penalties / rewards
Interactivity, input & output
Two player games and strategies
Game Design
Approaches: bottom-up versus top-down
Building game play from within a story and setting
The game development lifecycle
Project and workflow management
Roles and responsibilities
Usability, interface design and overall user experience
Games in Society
The finance and business of games
The psychology of games
Social and ethical considerations: e.g. addiction, violence and gender
representations
Current Industry Challenges & Opportunities
Current and emerging industry requirements
Recent technology and application developments
Employment readiness: employer / employee expectations
Company insights
47
Reading Lists And Other Learning Materials

Essential
Myr, F., 2008. An introduction to game studies: games in culture, London: SAGE.
Salen, K. & Zimmerman, E., 2004. Rules of play: game design fundamentals, London: MIT
Press.
Recommended
Adams, E. & Rollings, A., 2010. Fundamentals of game design, Berkeley, CA: New Riders.
Fullerton, T., 2008. Game Design Workshop: A Playcentric Approach to Creating Innovative
Games 2nd ed., Morgan Kaufmann.
Rogers, S., 2010. Level Up!: The Guide to Great Video Game Design, John Wiley & Sons.
The module will be delivered through a combination of demonstrations, participative lectures
and facilitated discussions. Learners will be required to undertake independent work by
playing, exploring and experimenting with different game environments.
Guest lecturers from the music production and gaming industry will deliver key insights into
current and emerging front of the wave technologies; industry working practices; and
employer and employee expectations. Sessions will be delivered using workshops and
seminars to facilitate engagement and knowledge transfer..
In order to develop and articulate informed personal perspectives on the games industry,
learners will be required to review and critique articles and opinions presented in the media,
and to present written or oral work comparing and contrasting the views expressed in the
media with their own.
Two assignments will be used to assess learning. The first assignment requires the detailed
description and categorisation of a previously unseen game. The second requires an
individual or group presentation (or debate) in support or against a particular perspective on
games.
An end of semester examination will be used to assess the learners assimilation of the
concepts involved.
Assessment
Weighting
MLOs
Assignment 1: Written work.
25%
i iii v
Assignment 2: Reflective Piece
25%
Ii, iii
Examination
50%
ii iv
Total
100%
48
Module 7:
Stage
Semester
Module Title
Module Number/Reference
Module Status (Mandatory/Elective)
Module ECTS credit
Module NFQ level (only if applicable)
Pre-requisite Module Titles
Co-requisite Module Titles
Is this a capstone module? (Yes or No)
1
2
7
Mandatory
5
6
N/A
N/A
No
Tim Dawson
Contact Hours
Non-contact Hours
24
48
Total
Effort
(Hours)
72
Independen
t work
Placement
Assignment
Percentage
contribution
Seminar
Practical
6
20
28
Continuous
Final
Project
Practical
Assessment
Examination
Tutorial
Lecture
18
40%
60%
72
Total
100%

On successful completion of this module learners will be able to:
i.
Describe the traditional narrative structure
ii.
Discuss the role of plot and narrative in message delivery
iii.
Identify narrative structure of different genres
iv.
Explain the difference between traditional and interactive story telling
v.
Discuss the nature of interaction narrative structures including hypertext, branching

and story generators
49
Module Objectives
This module explores the difference between traditional linear narrative in storytelling and
the challenges of interactive narrative. The learners will be given a solid understanding of
traditional narrative theory, character development, plot, back-story and dialogue. Nontechnology based experimental approaches will be introduced briefly. The opportunities that
technology provides for experimentation in non-linear forms will be examined.
Module Curriculum
Traditional Storytelling
The oral tradition
Narrative, plot and structure
The written story
Interactive Story in non-computer based media

Role playing games
Theatre examples
Other genres
Narrative in Interactive Media

Interactivity versus narrative
Agency and Immersion
Cybertext
Algorithmic storytelling
Cohesion and well-formed narrative
Exploratory Narratives
Branching trees
Story generators
Collaborative Storytelling
Web-based collaborative stories
Alternative reality games
MUDs and MMOGs
Reading lists and other learning materials

Recommended reading
Miller, C.H., 2008 Digital Storytelling: A Creator's Guide to Interactive Entertainment (2nd
Edition), Focal Press,
50
Secondary reading
Murray, J.H., 1998 Hamlet on the Holodeck, MIT Press,
Wardrip-Fruin, N. & Harrigan, P., 2004. First person: new media as story, performance, and
game, Cambridge, Mass.: MIT Press.
Wardrip-Fruin, N. & Harrigan, P., 2007. Second person: role-playing and story in games and
playable media, Cambridge, Mass.: MIT Press.
Harrigan, P. & Wardrip-Fruin, N., 2009. Third person: authoring and exploring vast
narratives, Cambridge, Mass.: MIT Press.
The module will be delivered through a combination of demonstration based lectures and
tutorials. Theoretical issues are dealt with through lectures. Tutorials involve discussion of
topics, demonstration and engagement with practical examples.
The module assessment consists of two assignments and an end of semester examination.
The first assignment will require learners to present written work, for example in the case of
an essay (1000 words) on a particular story telling tradition and how it compares and
contrasts with other traditions. The second assignment will require the learner reflecting on
their own particular evaluation of a story, justifying their choice.
An end of semester examination will be used to assess the learners assimilation of the
concepts involved.
Assessment
Weighting
MLOs
Assignments
40%
i iii v
Examination
60%
ii iv
Total
100%
51

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FACULTY OF MUSIC

CMPG CONTACT DETAILS

KEEPING CONTACT WITH GRIFFITH COLLEGE

GUIDELINES & REGULATIONS

EXAMINATIONS, GRADING SYSTEMS & RESULTS

FREQUENTLY ASKED QUESTIONS

MODULE ASSESSMENT BREAKDOWN

Music and Image

Sound Design for Games

Music Composition for Games

Module 6: Games Development

Module 7: Interactive Storytelling

Griffith College/ Windmill Lane Academy

2. CMPG Contact Details

Griffith College/ Windmill Lane Academy

3. Keeping contact with Griffith College

Griffith College/ Windmill Lane Academy

Semester 1 Timetable CMPG (Group A) 2013-14

Music & Image

Music & Image

Music & Image

Music & Image

Music & Image

Music & Image

Music & Image

Music & Image

Music & Image

Music & Image

Music & Image

Griffith College/ Windmill Lane Academy

Semester 2 Timetable CMPG (Group A) 2013-14

Music & Image

Music & Image

Music & Image

Music & Image

Music & Image

Griffith College/ Windmill Lane Academy

Music & Image

Music & Image

Music & Image

Music & Image

Music & Image

Music & Image

Griffith College/ Windmill Lane Academy

Semester 1 Timetable CMPG-S (Group B) 2013-14

Music & Image

Music & Image

Music & Image

Music & Image

Music & Image

Griffith College/ Windmill Lane Academy

Music & Image

Music & Image

Music & Image

Music & Image

Music & Image

Music & Image

Griffith College/ Windmill Lane Academy

Semester 2 Timetable CMPG-S (Group B) 2013-14

Music & Image

Music & Image

Music & Image

Music & Image

Music & Image