Class Sound Narratives

  • Presentation


    The structuring concept of the UC is based on the systemic triangle Listen-Manipulate-Project, supported by four domains - perception, acoustics, sound culture, audiovisual narrative - in joint articulation. In the 1st year of the degree, the focus will be on Listening and Manipulation, complemented, necessarily, by the other vertex [to Project].

  • Code


  • Syllabus


    LISTEN [listen-recognize-understand]

    • Audiovisual language

    • Introduction to the study of sound

    • Sound perception

    • Sound landscape

    • Soundtrack

    • Listening (analytical, reflective, projective)

    MANIPULATE [register, edit, materialize]

    • Sound Studio

    • Microphones

    • Technical concepts of audio capture / recording

    • Basic audio editing practices and techniques

    • MIDI protocol

    • Sound space

    • Audiovisual synchronization


    • Soundboard

    • Adequacy of the sound to the image and vice versa

    • Sound narratives

    • Acusmatization

    • Sound spaces

  • Objectives


    Understanding how the universe of sound works and acquiring tools for those who want to narrate with sound and image, in a joint performance as a univocal whole:

    I) raise awareness and practice listening mechanisms, as a process that feeds and enriches memories and a sound culture, which are fundamental for the (re)balance of the sound-image pair, for a correct reading and audiovisual production in animation;

    II) to creatively reconstruct and materialize a set of memories, ideas, environments, perceptions and records, through digital audio production technologies and techniques, creating and generating new sensations, interpretations and emotions, in the context of sound narratives in themselves and audiovisual narratives in animation;

    III) knowing how to project (from concept, to creation and completion), consolidating acquired knowledge and thinking using the sound-image pair as the fundamental component in the audiovisual narrative, in general, and in an animation product.

  • Teaching methodologies and assessment

    Teaching methodologies and assessment

    Expository, demonstrative, analytical and participatory methods, of experimental and realization practice, in class / studio and in field work, of exercises / concrete projects in a tutoring regime, while providing the necessary theoretical and conceptual elements inherent to the specificities of sound design for and from image. Initially classes will take place online due to the COVID-19 pandemic.

    It is intended that the student develops individual and group work, practicing how to better integrate into future cooperative projects from and to the moving image.

    The UC evaluation will be continuous and will take into account: i) attendance to the classes taught; and ii) carrying out the work throughout the semester.


    1. performance of exercises, attendance and participation -50%

    2. final project - 50%

    The UC approval rating must be equal to or higher than 10, otherwise there will be an exam.

    The exam implies carrying out projects with an equal degree of difficulty.

  • References


    Beauchamp, R. (2014). Designing Sound for Animation. CRC Press.

    Chion, M. (2008). A Audiovisão. Edições Texto & Grafia.

    Farnell, A. (2010). Designing Sound. MIT Press.

    Henrique, L. (2002). Acústica Musical. Fundação Calouste Gulbenkian.

    Holman, T. (2012). Sound for Film and Television. Taylor & Francis.

    Huber, D. M., & Runstein, R. E. (2017). Modern Recording Techniques. Taylor & Francis.

    Schafer, R. M. (1993). The Soundscape: Our Sonic Environment and the Tuning of the World. Inner Traditions/Bear.

    Truax, B. (1984). Acoustic Communication. Ablex Publishing Corporation.


  • Office Hours

    Office Hours

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