{"id":629,"date":"2015-09-22T07:51:21","date_gmt":"2015-09-22T07:51:21","guid":{"rendered":"http:\/\/www.seeingsound.be\/?page_id=629"},"modified":"2015-12-03T19:32:53","modified_gmt":"2015-12-03T19:32:53","slug":"teaching","status":"publish","type":"page","link":"https:\/\/www.seeingsound.be\/?page_id=629","title":{"rendered":"Teaching"},"content":{"rendered":"

\"seeingsound<\/a><\/p>\n

\nStudents collaborate in groups of 2 or 3 to create a short movie. During the first month we focus on preproduction and the co-creative development of a storyboard\/score, whereby music composers and filmmakers are equal partners. After one month, production starts and composers and filmmakers work individually with intermediary feedback moments.\n<\/p>\n\n\n\n\n\n
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Phase<\/p>\n

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Classes<\/p>\n

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Description<\/p>\n

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Classes 1-4: concept design<\/td>\n\nIn the preproduction phase students work closely together to develop the concept of the film as equal, co-creative partners. Hereby they use the format of the storybord\/score (or storyscore) instead of the classical script, and investigate which forms of interdiscipliary communication to use. <\/td>\n<\/tr>\n
Classes 5-10: production<\/td>\n\nIn the production phase it becomes important that musicians and filmmakers are given the time to implement their respective parts individually, with coaching of their specific teachers. Nevertheless we organize weekly feedback moments where both comment on the others’ work. There are also a number of joint sessions, such as music rehearsal, where everybody is present. <\/td>\n<\/tr>\n
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\"seeingsound<\/a><\/p>\n

\nThe teaching strategies we apply are the result of an iterative process. Each subsequent year the setup of the course has been finetuned, based on our observations and feedback of the research committee.<\/p>\n

\nPositive remarks from the beginning:\n<\/p>\n