| Digital Game Design (English) | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code: | DGD035 | ||||
| Course Name: | Sound Design for Games | ||||
| Semester: | Fall | ||||
| Course Credits: |
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| Language of instruction: | English | ||||
| Course Condition: | |||||
| Does the Course Require Work Experience?: | No | ||||
| Type of course: | Departmental Elective | ||||
| Course Level: |
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| Mode of Delivery: | Face to face | ||||
| Course Coordinator: | Öğr. Gör. ÖMER YUSUF TOPÇU | ||||
| Course Lecturer(s): | Öğr. Üyesi. Ömer Yusuf Topçu | ||||
| Course Assistants: |
| Course Objectives: | In this course, you will learn how to build sounds and sound effects from scratch, using the open-source graphical programming environment. You will learn how to analyze and synthesize everyday sounds and encapsulate them in dynamic sound objects that can be embedded into computer games, animations, movies, virtual environments, sound installations, and theater productions. Our work will be guided by Andy Farnell’s book Designing Sound. |
| Course Content: | Sound Design teaches process of conceptualization, theory and technology. An understanding of text, world building and storytelling, as well as understanding the physics of sound and the technologies utilized are essential components of the sound design curriculum |
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The students who have succeeded in this course;
1) Reflect upon and analyze everyday sonic experiences and articulate them to others. 2) Design and implement computer music applications using essential sound synthesis and programming techniques. 3) Identify suitable synthesis techniques to develop a design strategy for a specific sound design problem. |
| Week | Subject | Related Preparation |
| 1) | Introduction to the course and topics, meeting the students. | Introduction to class work. to be able to understand time and music theory elements, to be able to create ideas. |
| 2) | Introduction to sound and music theory. | time accompaniment, meaning and equality in the relationship between sound and music in video games. |
| 3) | Sound and Music Theory the time | Musical elements in games. discussion.understand time and music theory elements |
| 4) | Music Theory the time and duration. | Musical elements in games. discussion. understand time and music theory elements |
| 5) | Music Theory "durations." | discussion. notes, discuss |
| 6) | Music Theory elements of sound in time | Examples video games. Prepare for mid-term presentation. |
| 7) | Midterm Presentations | |
| 8) | Musical Instruments | Class discussion. |
| 9) | ||
| 10) | Music Theory and Instruments | discussion |
| 11) | Sound, Music, Musical Effects | |
| 12) | Compositions and synchronization | |
| 13) | Sound design, composing and synchronization | |
| 14) | Overall What have learned. Final presentations. |
| Course Notes / Textbooks: | Farnell, Andy. Designing Sound. MIT Press, 2010. ISBN: 9780262014410. (Book and accompanying Pd example files.) Strongly recommend that you invest in a printed copy of this fantastic book, which you will most likely enjoy long after the end of this course. |
| References: | Complete Essential Music Theory, Alfred's, Andrew Surmani, Karen Farnum Surmani, Morton Manus |
| Course Learning Outcomes | 1 |
2 |
3 |
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| Program Outcomes | ||||||||
| 1) Being able to write creatively, imagine, and produce original and inspired fictional scenarios, places, and universes. Being able to produce 2D and 3D visual designs and impressive auditory compositions. Being able to plan all these artistic practices around certain goals and with a focus on design. Being able to design the videogame design process itself. | 2 | 1 | 3 | |||||
| 2) Being able to think and produce creative content based on mathematical data. Being able to parametrically design. Being able to quantify art and design practices, such as creative writing, graphical, illustrative, spatial, and character design. Being able to ideate qualitatively and subjectively through quantitative and objective approaches. | 1 | 3 | 2 | |||||
| 3) Being able to work on projects by incorporating various fields of expertise and the content that originates from these fields. Being able to work as part of a team while embracing different ideas and skills. Being able to produce comprehensive and total videogame concepts. Being able to edit, exhibit, present, and defend works in portfolio and presentation formats. | 2 | |||||||
| 4) Achieving critical thinking literacy on videogame history and theory. Being able to think through and produce academic texts about the philosophical, anthropological, political, and social manifestations of games. Being vigilant about the contemporary problematics of videogame epistemology. Displaying professionalism in accepting criticism. | 3 | |||||||
| 5) Being informed about the historical accumulation and contemporary productions of the videogame culture and other cultural playgrounds from which videogame culture draws. Being able to tackle, process, and position both aesthetic and technical production and thinking methods as cultural activities. | 1 | 1 | ||||||
| 6) Being knowledgeable about the past, aware of the present, and foresighted about the future potentials of the social and economic realities of videogames. Being able to handle professional relations, create correspondence, and manage production plans. Being a generalist, while also specializing in one or more areas of expertise. | 3 | |||||||
| 7) Being able to research, filter data, and synthesize both within and outside videogame epistemology at every stage of production. Being able to conduct interdisciplinary research. Being able to create original ideas by remixing content from various sources. Learning to learn. | 2 | 1 | ||||||
| 8) Understanding, learning, and using professional content authoring tools and technologies. Being able to design workflows in service of various production requirements. Being able to use technologies within the workflow besides the usual and intended purposes, and researching, discovering, and putting to use technologies for new purposes. | 3 | |||||||
| No Effect | 1 Lowest | 2 Average | 3 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | Being able to write creatively, imagine, and produce original and inspired fictional scenarios, places, and universes. Being able to produce 2D and 3D visual designs and impressive auditory compositions. Being able to plan all these artistic practices around certain goals and with a focus on design. Being able to design the videogame design process itself. | 2 |
| 2) | Being able to think and produce creative content based on mathematical data. Being able to parametrically design. Being able to quantify art and design practices, such as creative writing, graphical, illustrative, spatial, and character design. Being able to ideate qualitatively and subjectively through quantitative and objective approaches. | 1 |
| 3) | Being able to work on projects by incorporating various fields of expertise and the content that originates from these fields. Being able to work as part of a team while embracing different ideas and skills. Being able to produce comprehensive and total videogame concepts. Being able to edit, exhibit, present, and defend works in portfolio and presentation formats. | 3 |
| 4) | Achieving critical thinking literacy on videogame history and theory. Being able to think through and produce academic texts about the philosophical, anthropological, political, and social manifestations of games. Being vigilant about the contemporary problematics of videogame epistemology. Displaying professionalism in accepting criticism. | 1 |
| 5) | Being informed about the historical accumulation and contemporary productions of the videogame culture and other cultural playgrounds from which videogame culture draws. Being able to tackle, process, and position both aesthetic and technical production and thinking methods as cultural activities. | 2 |
| 6) | Being knowledgeable about the past, aware of the present, and foresighted about the future potentials of the social and economic realities of videogames. Being able to handle professional relations, create correspondence, and manage production plans. Being a generalist, while also specializing in one or more areas of expertise. | 2 |
| 7) | Being able to research, filter data, and synthesize both within and outside videogame epistemology at every stage of production. Being able to conduct interdisciplinary research. Being able to create original ideas by remixing content from various sources. Learning to learn. | 3 |
| 8) | Understanding, learning, and using professional content authoring tools and technologies. Being able to design workflows in service of various production requirements. Being able to use technologies within the workflow besides the usual and intended purposes, and researching, discovering, and putting to use technologies for new purposes. |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 1 | % 10 |
| Homework Assignments | 1 | % 45 |
| Project | 2 | % 45 |
| total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 100 | |
| PERCENTAGE OF FINAL WORK | % | |
| total | % 100 | |
| Activities | Number of Activities | Workload |
| Course Hours | 14 | 28 |
| Application | 14 | 28 |
| Project | 12 | 36 |
| Final | 1 | 8 |
| Total Workload | 100 | |