Spring 2025 Offerings
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The behavior of sound in various environments and techniques of modifying sound.
RECA majors only
See PROWL for Days and Times
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Introduction to sound effects and dialog editing using random access digital sound and picture.
RECA majors only.
Prerequisite: RECA 250 with a grade of C (2.0) or better.
See PROWL for course days and times
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Study of psychological and neuroscientific basis of human music preferences by looking at most relevant research on human brain and music, as well as the theories that were developed based on that research. Ultimately, searching for the answers of why certain songs become huge music hits.
University Core fulfilled: Explorations: Understanding Human Behavior.Meetings: ONLINE
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Advanced applications in film and television sound post-production: ADR, Foley, dialog and sound effects editing, and mixing.
RECA majors only.
Prerequisites: RECA 220 with a grade of B (3.0) or higher, RECA 250 with a grade of B (3.0) or higher, RECA 258, RECA 322, and RECA 353.
Corequisites: RECA 361 and RECA 362.
See PROWL for course days and times
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The theory and practice of live and studio recording with no overdubs.
Live sound reinforcement practice of an outdoor concert session.
Lecture and Laboratory, 6 hours.
RECA majors only.
Prerequisites: RECA 220 with a grade of B (3.0) or higher, RECA 250 with a grade of B (3.0) or higher, RECA 258, RECA 322, and RECA 353; MUSC 104 and MUSC 107.
Corequisites: RECA 358 and RECA 362.
See PROWL for course days and times
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In-depth study of audio software applications. Plugins and standalone software usage.RECA majors only.
Prerequisites: RECA 220 with a grade of B (3.0) or higher, RECA 250 with a grade of B (3.0) or higher, RECA 258, RECA 322, and RECA 353; MUSC 104 and MUSC 107.
Corequisites: RECA 358 and RECA 361.
Meetings: See PROWL for meeting days/times.
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Production sound theory and practice, with actual experience in recording, producing sound, and introduction to initial post-production procedures for film and TV.
PROD majors only. Prerequisites: PROD 200 and RECA 250.Meetings: See PROWL for Days and Times
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By watching and listening to film soundtracks, as presented through more than 200 film clips, students perform extensive visual and audio analysis of how music contributes to narrative cinematic arts. Students will be connecting visual and audio structural elements of film as they are related to important psychological principles such as humans having bias toward predictability, especially when it comes to musical expectations. Combined interdisciplinary concepts of psychology, music, and film are used to achieve the learning outcomes.
University Core fulfilled: Integrations: Interdisciplinary Connections.Meetings: ONLINE, Asynchronous
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This course explores aesthetic and creative aspects of sound design for film and television. The focus is on the creative experience of cinematic sound design. Although we will examine some of the history and theory of sound design, the focus will be on understanding and appreciating the contributions of practitioners in the field and the effects of this work on a mass audience.
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Defining the role of the music supervisor in drawing on the combined resources of the film and television communities to marry music and moving images, this course is for anyone interested in the business and art of film and television music. Lectures and discussion with guest speakers (music supervisors, composers, filmmakers, producers, music licensing representatives, and executives) present the principles and procedures of music supervision.
Meetings: See PROWL for meeting dates/times.
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Supervised and advanced projects in audio applications.
RECA majors only.
Prerequisites: RECA 220 with a grade of B (3.0) or higher, RECA 250 with a grade of B (3.0) or higher, RECA 258, RECA 322, RECA 353, RECA 358, RECA 361, RECA 362, and RECA 461; MUSC 104 and MUSC 107.
Corequisite: RECA 470.
See PROWL for course days and times
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In this class we refine the techniques of sound post-production for LMU productions, as well as exploring more advanced concepts and techniques applicable to feature films. We will deal with technical matters of hardware and software, but the focus is on creativity and the good work habits that bring that creativity to fruition. Our focus is on creating good soundtracks for individual LMU projects. You should have a projectfrom a previous semester that you wish to re-mix or a film in the post-production phase that you are working on concurrently. It is much better to re-mix a past project so that you are not subject to a post schedule that may be beyond your control.
Meetings: See PROWL for meeting days/times.
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Supervised project in multi-track recording and production or film production and post-production sound. The student will author a portfolio containing all the work completed as a partial fulfillment of RECA degree requirements.
RECA majors only.
Prerequisites: RECA 220 with a grade of B (3.0) or higher, RECA 250 with a grade of B (3.0) or higher, RECA 258, RECA 322, RECA 353, RECA 358, RECA 361, RECA 362, RECA 461; MUSC 104 and MUSC 107.
Corequisite: RECA 464.
Meetings: See PROWL for meeting days/times
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An introduction to the aesthetic, pragmatic, and technical issues of motion picture sound recording, editing, and mixing.
PROD graduate students only.
Prerequisite: PROD 500.
Meetings: See PROWL for meeting days/times.