(Composing Music for Video Games) Course Syllabus (Gerard Marino)

COURSE SYLLABUS

Course # X 478.52 Discipline: Music
Course Title: Composing Music for Video Games
Reg. # Y5955

Units: 4

Quarter/Yr: Fall 2012

Day/Time: Tuesday, 7-10pm
Dates: September 25 December 11
Location: UCLA, School of Public Affairs Bldg., room 1222
Instructor: Gerard Marino
Course Description
Through weekly writing assignments, lectures and audio-visual demonstrations,
composers gain an understanding of the composition techniques, organization,
and delivery formats unique to the video game industry. Topics include in-game
versus cinematic scoring; budgeting and project management; contracts;
technology tools for asset creation and processing; music engines and
compositional techniques specific to video game music; electronic music creation
versus using live musicians; mixing; composing for different game genres and
audio formats, delivery of assets for different console formats such as Xbox 360,
PS3, PC, and handheld devices (PSP, Nintendo DS). Weekly composition
assignments focus on writing original adaptive music similar to works created
for current games.
Prerequisite: Some composition background. Since outside composition projects
are assigned, students must create final mixes outside of class with their own
composition tools such as: Pro Tools, Logic, Digital Performer, Cubase SX,
Nuendo, Sonar, Live, or Reason. Enrollment limited; early enrollment advised.
Internet access required to retrieve course materials.

(Composing Music for Video Games) Course Syllabus (Gerard Marino)

WELCOME MESSAGE
Instructor Gerard Marino

WELCOME to Composing Music for Videogames

This class is an intense, hands-on workshop on composing music for videogames. We will
break down the basics of music composition into usable cells and then apply those elements
in various ways to create common forms of adaptive videogame music. Entry into and
continuing to prosper in the game industry will be discussed. We will have a few guest
speakers from both music and development sides of the game industry and will take at least
one field trip to a composer studio or recording session.

Gerard K. Marino moved to Los Angeles in 1999 to seek a career in writing

music for picture. Six years later the Los Angeles Philharmonic was performing
his music at the Hollywood Bowl.
He is most noted as the principal composer of Sony Playstations GOD OF WAR
series of games, the first of which won the Interactive Academy Award for Best
Score, as well as the Game Audio Network Guilds Music Of The Year Award.
Marinos orchestral suite of his GOD OF WAR themes has been performed live
by world class orchestras to sold-out crowds on 6 continents including the LA
Philharmonic at the Hollywood Bowl and the National Symphony at the
Kennedy Center. One of his songs, THE END BEGINS (TO ROCK), is the most
downloaded song for GUITAR HERO III on the Playstation Network. He has
also contributed music to such game titles as THE AMAZING SPIDERMAN,
SPIDERMAN:EDGE OF TIME, DC UNIVERSE ONLINE, THE AGENCY,
FANTASTIC 4, THE PUNISHER, and 187: RIDE OR DIE. He has scored several
commercials, including spots for the NBC 2006 Winter Olympics, DTS, State
Farm Auto and Life, and Dannon Yogurt. His music can be heard in countless
theatrical motion picture trailers including Hellboy 2, I Am Legend,
Leatherheads, Pirates Of The Caribbean: At Worlds End, Superman Returns, The
Grudge I and II, Ice Age II, and Terminator 3. He has scored 7 feature films and
has also contributed music to television programs, including the CWs
SUPERNATURAL and USAs THREE WISE GUYS.

Gerard Marino mobile: 310-386-4434

email: gerard@gerardkmarino.com

(Composing Music for Video Games) Course Syllabus (Gerard Marino)

Course Grading Policies

Grading: 720 points possible for all course components

Grades are assigned based on your ability to demonstrate understanding of the techniques,
material, and concepts presented in this course.
1. Assignments: 50 points for each of 7 assignments; total 350 points.
2. Participation: 10 points per class: 5 for showing up, 5 for participating, total 120 points.
3. Final Project: 50 points for each of 5 components total 250 points.

Policies About Deadlines and Late Work:

This class is run as if it is a real world job. Absences for any reason will eliminate 5 points
from that days participation total. Notification of an impending absence at least 24 hours
previous will save 5 points of that days participation total. Deadlines are considered hard,
meaning set in stone. All assignments must be completed and delivered for peer review at
the following weeks class for the points to be credited to your point total. If you cant make
the class, make sure your assignment does. Emergencies must be declared at least 24
hours in advance for consideration. The point value of the final project cues is assessed in
part by those cues interchangeability with the previously written assignment cues. Therefore
unexcused late assignment cues must still be turned in for their corresponding final project
cues to receive full point credit.

Letter
Grade

%


A


(90-100%)

B


(80-89%)


C


(70-79%)



D


(60-69%)



F


(<59%)

A grade of C or better is considered a passing grade. Certificate students must take 400 level
courses for a grade.

Please note that ALL COURSE GRADES ARE FINAL.
Information about Incompletes: The interim grade Incomplete may be assigned when a student's
work is of passing quality, but a small portion of the course requirements is incomplete for good
cause (e.g. illness or other serious problem). It is the students responsibility to discuss with the
instructor the possibility of receiving an I grade as opposed to a non-passing grade. The student is
entitled to replace this grade by a passing grade and to receive unit credit provided they complete
the remaining coursework satisfactorily, under the supervision of and in a time frame determined by
the instructor in charge, but in no case later than the end of the next academic quarter. At that time,
the Registrar will cause all remaining Incompletes to lapse to the grade "F". Note: Receiving an I
does not entitle a student to retake all or any part of the course at a later date.
Student Behavior involving cheating, copying others work, and plagiarism are not tolerated
and will result in disciplinary action. Students are responsible for being familiar with the
information on Student Conduct in the General Information Section of the UCLA Extension Catalog or
on the website at www.uclaextension.edu

(Composing Music for Video Games) Course Syllabus (Gerard Marino)

Course Outline
Week 1
Lecture: Introductions. In-game vs. Cinematic music. Challenge of making ingame feel cinematic. Artistcally substantial music vs fully adaptive music.
Pitching for game music jobs. DNA of melodic writing. Importance of being
social with devs, pubs, AND composers.
Assignment: Complete gear info sheet, Business card, pick pitch for game, write
piano or guitar sketch 30 seconds or more, write email describing choices, prep
live presentation of theme idea.

Week 2
Lecture: Common game music terms/definitions. Stems explained. 3 layer
orchestration and arranging. Basic DAW setup tips for game scoring. Basic
Mixing tips. Theme Idea reviews with memorable-ness assessment.
Assignment: Realize sketch in 3 layer orchestrated/arranged file, mix AND
stems.

Week 3
Lecture: Energy/intensity levels of in game music. Fighting the loudness war.
Music engine disparity. Looping basics. Naming conventions. Cue review.
Assignment: write :30 seamless looping ambient/suspense cue based on Main
Theme.

Week 4
Lecture: Cue sheet disparity. Audio/music director disparity. Corporate culture
disparity and dangers. More looping tips. Cue review.
Assignment: write :30 seamless looping med/hi combat cue based on Theme
Idea.

Week 5
Lecture: Dealing with revisions. Introduction to vertical interactivity. Cue
review.
Assignment: write :30 seamless looping boss battle cue based on Theme Idea and
incorporating new Boss Theme.

Week 6
Lecture: Advanced vertical interactivity. Cue review.
Assignment: write :30 seamless looping lo/med combat cue with vertical
interactivity

(Composing Music for Video Games) Course Syllabus (Gerard Marino)

Week 7
Lecture: Adaptive scoring with branching, stingers, and swells. Cue review.
Assignment: write :05ish Intro and Finisher stingers for all 3 combat tracks.
Write 2 :05ish Success Stingers and 2 :05ish Fail Stingers based on Main Theme
and interchangeable with all 3 combat tracks.

Week 8
Lecture: Mining approved compositions for new cue inspiration. Project
scheduling. Cue review.
Assignment: Final Project! Write Secondary Theme and use as DNA for new set
of in game cues to compliment cues from assignments 3 thru 7.

Week 9
Lecture: Breaking in to the game music biz. Guest speaker TBA. Secondary
Theme review.

Week 10
Lecture: Staying in the game music biz. Guest speaker TBA. Boss Cue v2
Review.

Week 11
Lecture: Advanced mixing and mastering. Guest speaker TBA. Vertically
Interactive Cue v2 Review.

Week 12
Lecture: Field trip to Gerard Marino writing studio. Combat v2 and Ambiant v2
cue review.