CREO SAE University College
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Sotto Voce
No full textThis masters project consists of a composition portfolio and exegesis, connecting an earlier historical period to the present day through contemporary compositional processes and an examination of the musical experience. Feminist reparative approaches to history have revealed women composers who had been disappeared or minimised through music history.
Taking as its starting point the cultural and musical contexts of two Baroque composers, Francesca Caccini (1587- c.1645) and Barbara Strozzi (1619-1677), this project approaches their surviving traces creatively whilst investigating temporality and subjective modes of knowledge production. The project draws together sense-oriented frameworks from artistic practice-led research, the Baroque era and sound studies, with a focus on listening (and all itsmetaphoric, sensual and technical applications). In doing so, it models how a contemporary self-producing sensate composer can interact with the past to create new work.
(This is the folio of work
Tabletop Games for Training: Teaching Soft Skills to Game Development Students
No full textAmong the key competencies for game development that tertiary education provides, soft skills are among the most challenging to coach students on. In an active learning environment the expectation is that soft skills such as communication, estimation, and prioritisation are gained through experience when students undertake group project work. While appropriately scaled projects may provide an opportunity to engage with soft skills in a meaningful way, this learning is often a lower priority to the student presented with more tangible project outcomes that they expect to be graded upon. Engaged and enthusiastic students may reflect upon how their experiences have helped them to hone their existing soft skills as they have a basic understanding of their value, but most students are reliant upon direct involvement with a subject to recognise its benefits in any meaningful way. To facilitate this learning an activity was designed to encourage reflection upon soft skills and their value to games development. Trial By Fire is a tabletop card game that was developed through action research across the course of three years of iteration and qualitative testing with students. Students consistently expressed a clearer understanding of how soft skills are applicable in their projects and careers after just a few minutes of gameplay. Today this activity can be incorporated into university level lesson plans alongside a class discussion after just a few minutes of gameplay and presents an opportunity for expansion into other disciplines or soft skills
CIM330.1 Audience Test Example 1
No full textAn example of a documented submitted for CIM330.1 Audience Test. This is a report describing process and then outcomes
DDX215.1 Magazine Design Example 1
No full textThis typography project aims to design a magazine from cover to layouts, focusing on creating a cohesive and visually compelling publication that effectively communicates its content to the target audience. This design excelled in various aspects of typographic design, - the integration of typography with imagery and content, its font selection, layout composition, and overall aesthetic considerations
Starfall [Game]
No full textA multiplayer shooter inspired by Halo 2 and Starwars battlefront 2 (2005)
AUD176.3 Foundations of Recording and Mixing: Final Audio Production Example 1
No full textCover of the Meat Puppets song ‘Oh Me’
Remembering Palghat Raghu
No full textPalghat Raghu was a master of the mridangam and one of the leading figures in South Indian Carnatic music. In this article, I want to contribute a perspective on his musical life and, through my reflections on my time with him, contribute insights toward a fuller understanding of Carnatic music and Western engagements with it. I do so by drawing on fieldwork I conducted in Chennai, India, at various times between 2005–2013. Specifically, I use ex- amples of solkattu from my lessons with him to illustrate Raghu’s approach to rhythm and the general rhythmic approach within Carnatic music, including the kinds of musical-cognitive skills involved in rhythmic production within the Carnatic system. By describing aspects of his practice and his various inter- actions with other musicians, I also reflect on his position as a culture-bearer and on the relationships between musical cultures