26 Jun RELEVANCE OF SOUND RECORDING TO SELECTED AUDIENCE
Choose a contemporary event from the last three months. Identify its organising discourse and create a counter or alternative sound based text using your knowledge of genre, multi-modality and the examples provided in previous weeks. The sound file should be produced with a care for quality and can use original voice using the UTS booths or equivalent as well as existing sound files. Your sound file must be accompanied by a written exegesis that explains the key purpose of the piece, identifies your imagined audience and tells us how the sounds you have chosen have produced an intervention within the organising discourses of the original text/event. The exegesis must also include a reflection upon your conceptual and technical process in producing the piece.
Sound Recording: 2-3 minutes
Exegesis Word limit: 1000 words
FURTHER ADVICE – Assessment 3 Unfolded!
1. Choose a contemporary event from the last three months
This is a key part of the assignment as we want to see you engaging in your contemporary world and we want to ensure the originality of your piece. What is a contemporary event? It could be the reportage of an ongoing political event e.g. the resignation of the Premier, the ongoing investigations into child abuse, global events in Russia or Nigeria or Egypt, Indigenous rights or transformation of laws etc. OR it could be a cultural happening like the rise of a particular fashion or take up of a style of communication or software. The main thing is that you be able to identify a major discourse in it.
What you need to show us to prove it is something that is a contemporary event from the last three months is a dated text. That is, you need a newspaper clipping, a dated radio transcript or downloaded magazine or blog entry that is from the last three months that is the textual record of the event you are going to work from.
2. Identify its organising discourse
This you know how to do – you have been identifying discourse and its elements ALL semester so now its time to practice and ENJOY that skill! Having identified the key organising discourse of your text you also need to think of the different modes that make that discourse work, think back to Assessments 1 and 2 and reflect on the sound piece using the ideas covered throughout semester, such as identifying genre, multimodal analysis (visual cues, text types etc.) and affect.
3. Create a counter or alternative sound based text to the text you chose
Having identified the organising discourse of your text you have to create a sound text that will operate as a counter to the identified organising discourse thus creating an alternative understanding of the text you have chosen.
See EXAMPLE for further detail on this part of the assessment.
4. Write your 1000 word exegesis
An exegesis is simply a critical explanation of your sound file. You need to include in your 1000 words:
an explanation of the key purpose of the sound file (sonic text), that is what you were trying to achieve and how it intervenes in the organizing discourse of your original text. This explanation should have both ideological/political elements and form elements. For example you may have been attempting to present a feminist sound file to intervene in a patriarchal discourse and you did this via using particular content, researched findings on alternate understandings of your text and you may also have identified that a key part of the patriarchal discourse was its use of scientific language and heavy newspaper heading font so you have chosen to call upon the senses in your piece, using emotional witnessing and lightly spoken words as a ‘counter’ form.
Identify your imagined audience. Tell us who you are aiming this sound piece at. Adults? Specific ethnic community? Children? How does the piece tell us who the audience is?
Provide an account of your conceptual and technical process in producing the piece. That is we need to know what pieces you took from where, what pieces were recorded and where and with whom, what parts were added later and using what technology. Don’t forget to REFERENCE where all your sounds came from and to include FIVE DIFFERENT ACADEMIC REFERENCES. For example if some of them came from Youtube clips make sure you reference the original Youtube clip. If you have used sound effects tell us where you sourced them and if you have used recorded voice credit the ‘actors’. Don’t forget to include all the references for your research in the usual way and they should include at least five academic sources that should include readings from the subject and specific researched sources for your specific topic.
AND DON’T FORGET THE CRITERIA ON WHICH THE OVERALL ASSESSMENT WILL BE MARKED:
Criteria
Relevance of sound recording to selected audience
Clarity of sound recording
Imaginative use of sounds
Relevance of referenced material
Clarity of written purpose
Depth of intellectual imagination displayed
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Assessment 3 Step-by-step Guide
EXAMPLE GUIDE:
The Long Path Home
Your chosen text is an account of the current budget. The headline you have chosen to work on is: ‘Hockey’s long path back to surplus’ (May 14th 2014). You identify that the organising discourse for that headline to make sense to us is one of heroic economic endeavour. And then you note various aspects of the text like the following:
– the words ‘long path’ suggest analogies with freedom fighting and war for example ‘long path to freedom’, ‘long way back home’ from war fronts etc.
– the headline establishes ‘Hockey’ as the hero of that suggested ‘battle’ along the ‘path’.
– the words leave ‘surplus’ as the final aim and so we are established as believing that the long hard battle by the hero ‘Hockey’ will produce something that is a ‘natural’ (or mythical) good which is a surplus.
– the headline is in clear bold front and is set up in simple text.
– the headline disavows (silences) any sacrifices by others that will be made in the ‘path’ to this ‘surplus’.
On reading further about the budget you find that one element of it is:
‘Young people wishing to sign onto the dole will be forced to wait six months before they receive a cent of government money, after which they will have to work for the dole for another six months before either getting a job, or getting cut off again for another six months’ (Maley 2014).
So, you decide to intervene into the heroic ‘Hockey’ journey by making an heroic sound file about the young people who will have no access for six months to any support if unable to find a job. How to do this?
– You create a script that uses the written accounts of homeless youth. You research the various journals and homeless youth reports to find the written texts you will use.
– You interweave into that script a repeated chorus that repeats: ‘well its a long path back to surplus’ so that the experience of the homeless youth are bought into jarring contact with the language of the economic ‘heroic journey’
– You think of other ‘heroic’ music that suggests a long path slowly travelled and choose to use a section of ‘Now we are free’ from Gladiator intending to set up an ironical sonic counterpoint that you hope in its melodramatic tones will also provide a missing sense of the emotional and personal effects of the budget. In this way you hope to make the budget appear not as an ‘heroic journey by one man’ but a set of acts that will have long term effects of some people including the suffering of some particular groups within Australia.
Having decide all the above you make a very long list. You realise you will need to:
– research the topic of youth homelessness
– write a small script based on that research
– identify people who will play the voice parts for the words you have identified
– find the Gladiator music in high quality form
– book sound booths for the amount of sessions you will need
– mix the various tracks together and convert to an MP3 file
– write your exegesis
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