BACHELOR OF ARTS WITH HONORS
Transcript of BACHELOR OF ARTS WITH HONORS
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BACHELOR OF ARTS WITH HONORS
CODE BPKP PROGRAMMES OFFERED
UH6212001 Music Studies
UH6212002 Creative Arts
BACHELOR OF VISUAL ARTS TECHNOLOGY WITH HONOURS
CODE BPKP PROGRAMMES OFFERED
UH6210001 Visual Arts Technology
www.ums.edu.my/astif +6088-320000 [email protected]
MUSIC STUDIES (UH6212001)
CM10102 THEORY AND HARMONY I
This is an introductory theory and harmony course, where students get to study the music foundation which are essential
to develop their skills and take them to a higher level. The study covers harmonic progression and also, it deepens the
understanding of musical structure. The students also study transposition, identify basic tonal sounds, melodic
composition, and analysis of different genre of music.
References
Wyatt, K. (1998). Harmony and Theory. Milwaukee : Hal, Leonard.
Pople, A. (1994). Theory, analysis and meaning in Music. New York : Cambridge University Press.
Turek, R. (1996). The Elements of Music. New York : The McGraw Hill
Damschroder, D. (1992). Foundations of Music and Musicianship. New York : Schirmer Books.
Schenker, H. (1998). Harmony. Chicago : The University Of Chicago Press.
Taylor, E. (1998). The AB Guide to Music Theory , Part I. London : The Associated Board of the Royal Schools of Music.
CM10202 THEORY AND HARMONY II
This course is a continuation from Music Theory and Harmony I. This course emphasizes on the study of tonal harmony
and melody, writing for keyboard, transposition, basic composition and arrangement of voices / instruments and the
analysis of music for vocal and orchestral scores.
References
Wyatt, K. (1998). Harmony and Theory. Milwaukee: Hal, Leonard.
Pople, A. (1994). Theory, analysis and meaning in Music. New York: Cambridge University Press.
Turek, R. (1996). The Elements of Music. New York: The McGraw Hill
Damschroder, D. (1992). Foundations of Music and Musicianship. New York: Schirmer Books.
Schenker, H. (1998). Harmony. Chicago: The University of Chicago Press.
www.ums.edu.my/astif +6088-320000 [email protected]
Taylor, Eric, (1998). The AB Guide to Music Theory Part II. London: The Associated Board of the Royal School of Music
Publishing.
Loh, Phaik Kheng. (1991). A Handbook of Music Theory, Part I1. Penang: Rhythm Distributor Sdn Bhd.
CM 11102 TEXTURAL ANALYSIS OF WESTERN MUSIC I
This course is an introductory to western music history, providing students with an understanding of music from the
medieval to the Baroque period. Students are required to do listening, discussion, and music analysis. The course will
cover the introduction of musical elements, forms, and stylistic performance from these early periods, and it provide
students with exposure to a variety of musical compositions from leading composers from each era.
References
Kamien, R. (1998). Music: An Appreciation. New York: McGraw Hill.
Ferris. J. (1999). Music: The Art of Listening. New York: McGraw Hill.
Zorn, J. (2000). Listening to music. New Jersey: Prentice Hall.
Bennett, R. (1995). History of Music. New York: Cambridge University Press.
Yudkin. J. (2004). Discover Music. Pearson: Prentice Hall.
CM 11002 TEXTURAL ANALYSIS OF WESTERN MUSIC II
This course is a continuation from Textual Analysis of Western Music I. The course emphasizes on western music history,
providing students with an understanding of music from the classical period to 20th Century period. Students are required
to do listening, discussion, and music analysis. The course will cover the introduction of musical elements, forms, and
stylistic performance from these periods, and it provide students with exposure to a variety of musical compositions from
leading composers from each era.
References
Kamien, R. (1998). Music: An Appreciation. New York: McGraw Hill.
Ferris, J. (1999). Music: The Art of Listening. New York: McGraw Hill.
www.ums.edu.my/astif +6088-320000 [email protected]
Zorn, J. (2000). Listening to music. New Jersey: Prentice Hall.
Bennett, R. (1995). History of Music. New York: Cambridge University Press
Yudkin. J. (2004). Discover Music. Pearson: Prentice Hall.
CM10501 PRACTICAL INSTRUMENTAL: MINOR STUDY I
This course provides students with the fundamentals of playing with the Keyboard in a Lab. Strong emphasis is given to
the development of music reading, composing melody, and identifying chord structures. All students are assessed
through weekly progress, mid-terms, and final assessment. Lab content is musically related to ensemble playing,
arranging music course and private instruction.
References
Bailey, W. 1992. Teaching Brass: A Rezourse Manual. USA: McGraw.
Lamb, N. 1994. Guide to Teach Strings. 6th. Edition. USA: McGraw-Hill.
Spohn, C. 1993. The Percussion: Performance and Instructional Techniques. Boston: Allyn and Bacon Inc.
Starr, Constance. 1992. Practical Piano Skills. (5th edit.). USA: McGraw.
Tanner, Paul O. 1997. Jazz (8th.edit.). USA: McGraw. Ware, C. 1998. Basic of Vocal Pedagogy. USA: McGraw.
Westphal, F. 1992. Guide to Teaching Woodwinds (5th edit.). USA: McGraw.
CM10601 PRACTICAL INSTRUMENTAL: MINOR STUDY II
The continuation of Practical Instrumental Minor Study I, this course provides students further knowledge of playing and
performing techniques for Keyboard Lab. Strong emphasis is given to the development of music reading and various
techniques related sucah as phrasing, articulation & dynamic. All students are assessed through weekly progress and
mid-terms and final assessment. Students are advised to sit for proficiency test for the minor instruments through,
ABRSM, Australian Guild of Examination or examination that are recognized by the Universiti Malaysia Sabah upon their
graduation.
References
Bailey, W. 1992. Teaching Brass: A Rezourse Manual. USA: McGraw.
Lamb, N. 1994. Guide to Teach Strings. 6th. Edition. USA: McGraw-Hill.
www.ums.edu.my/astif +6088-320000 [email protected]
Spohn, C. 1993. The Percussion: Performance and Instructional Techniques. Boston: Allyn and Bacon Inc.
Starr, Constance. 1992. Practical Piano Skills. (5th edit.). USA: McGraw.
Tanner, Paul O. 1997. Jazz (8th.edit.). USA: McGraw. Ware, C. 1998. Basic of Vocal Pedagogy. USA: McGraw.
Westphal, F. 1992. Guide to Teaching Woodwinds (5th edit.). USA: McGraw.
CM10901 ENSEMBEL INSTRUMENTS & VOCAL I
CM11201 ENSEMBEL INSTRUMENTS & VOCAL II
CM22101 ENSEMBEL INSTRUMENTS & VOCAL III
CM22201 ENSEMBEL INSTRUMENTS & VOCAL IV
CM33901 ENSEMBEL INSTRUMENTS & VOCAL V
CM33602 ENSEMBEL INSTRUMENTS & VOCAL VI
This course provides students with the opportunity to join an ensemble according to their knowledge of a particular
instrument. Those who are majoring in vocal and those who do not have any formal music training in orchestral
instruments is encouraged to join the choir. Those with formal training of music instruments such as strings, brass,
saxophones, flutes, clarinets, and keyboards are required to join the orchestra. The instrumental / vocal ensemble focuses
on the performance in a variety of musical styles. Classes will cover performance techniques utilized in contemporary
musical idioms such as jazz, rock, tradisional and pop.
References
Dornemann, J., 1992. Complete Preparation - A Guide to Auditioning for Opera. Excalibur Publishing. Agricola, J. F.,
1995. Introduction to the Art of Singing. Cambridge Uni. Press.
Ware, C., 1995. Adventures in Singing - A process for Exploring, Discovering and Developing Vocal Potential. McGraw
Hill.
Brinson, B. A. 1996. Choral Music. – Methods and Materials – Developing Successful Choral Programs. Schirmer Books.
Bennett, P.D., & Bartholomew, D. R. 1997. Singing in the Education of Children. Wadsworth Publishing Company.
Collins, D.L., 1999. Teaching Choral Music. Prentice Hall.
Novak, E. A., 1988. Performing in Musicals.
Schirmer Books. Tower, M. G., 1997. Choral Connection Level I Mixed Voices. McGraw Hill.
www.ums.edu.my/astif +6088-320000 [email protected]
CM10701 AURAL TRAINING I
This course is important to students in providing knowledge on basic concepts of intervals, chords, and rhythm supporting
other music courses for example: orchestra, harmony, modern harmony, composition, arrangement and conducting. The
course trains students in the recognition and transcription of rhythms, intervals, chords, melodies, as well as singing
melodies using solfege.
This level will be touching on the basics of solfege and students will be taught on the basics of music dictation skills.
Assessment will be done via written examinations targeting rhythmic, Interval, Chordal, and Melodic dictations.
References
Eslava, Hilario - Metodo de Solfeo
Danhauser, Adolphe - Solfège des Solfèges
Knowles, Greg - Reading Exercises for Solfège, 2nd Edition. Helion Group, 2003
Prosser, Steve - Essential Ear Training for the Contemporary Musician, Berklee Press, 2000
Monroe, L. (1975). Ear Training 1 and 2, Berklee Publishing
CM10801 AURAL TRAINING II
The level II of Aural Training is the continuation from Aural Training I. This level will be touching on Pitch, Melody,
Rhythm, Intervals, and Texture. Students will be recognizing the basics of melody, the listening implication, and its
notation. They will be asked to play back and rewrite what they have listened for rhythm and melody in one voice up.
Students also will learn the timing patterns and introduction to conducting methods. They must know the tempo terms
and all basic chords in root position and all inversions. They must sing using the original names and sol-fa for the notes.
Students will be assessed throughout the course.
References
Monroe, L. (1975). Ear Training 2, Berklee Publishing.
Danyszowa, H., Iszkowska, Z., Jargon, J., Leitner, M., Moszumanska-Nazar, K. (1996). Exercises to practice Sol-Fa, PWM
Edition.
www.ums.edu.my/astif +6088-320000 [email protected]
Dziewulska, M., Fraczkiewicz, A., Pawlowska, K. (1996). Materials for Sol-fa training, PWM Edition. Lasocki, J. K. (2001).
Sol-fa - part 1, PWM Edition.
Drogomirov, P. (2001). Sol-fa, “Music” Edition.
CM11401 MUSIC SOFTWARE NOTATION
This course focuses on the usage of Music Notation Technology. The course cover not only the knowledge in music
notation, but also the history and the development of musical notation, music notation for education, understanding the
different types of musical score notation used in different settings such as in concerts, smaller ensembles, symphonic
band, big orchestra and commercial jazz band.
References
Sibelius 7 User Manual Guide, Manning, P 1993 Electronic and Computer Music 2nd Edition UK: Clarendon Press, Russ,
M. (1996) Sound Synthesis and Sampling, Focal Press, UK SOS
Publication 1999 MIDI for The Technophobe
Rumsey F & Watkinson, J. 1993 The Digital Interface Handbook. UK: Focal Press Rumsey, F. 1994. MIDI System &
Control 2nd Edition. UK: Focal Press
Laurel, B. 1990 The Art of Human-Computer Interface Design
Huber, DM. 1995. Hard Disk Recording for Musicians. New York: AMSCO Publication. Mellor, D. 1992. How to setup a
Home Studio. PC Publishing.
Millward, S. 1998. Fast Guide to Cubase.VST. PC Publishing.
Rumsey, F. 1994. MIDI System and Control. Focal Press. Russ, M. 1996. Sound Synthesis and Sampling. Focal Press.
Sibelius 7 User Manual Guide, Manning, P 1993 Electronic and Computer Music 2nd Edition UK: Clarendon Press, Russ,
M.
www.ums.edu.my/astif +6088-320000 [email protected]
CM10302 PRACTICAL INSTRUMENTAL: MAJOR STUDY I
CM10402 PRACTICAL INSTRUMENTAL: MAJOR STUDY II
CM21502 PRACTICAL INSTRUMENTAL: MAJOR STUDY III
CM21602 PRACTICAL INSTRUMENTAL: MAJOR STUDY IV
CM32902 PRACTICAL INSTRUMENTAL: MAJOR STUDY V
CM33002 PRACTICAL INSTRUMENTAL: MAJOR STUDY VI
This course provides students with the latest playing and performing techniques, including vocal, that are currently
practice by professional instrumentalist/soloist in the music industry. Strong emphasis is given to the development of
music reading and various techniques relating music phrasing, articulation, and dynamics. All students are assessed
through weekly progress, mid-terms, and final assessment. Students are required to sit for proficiency test for the major
instruments through, either ABRSM, Australian Guild of Examination or examination that are recognized by the Universiti
Malaysia Sabah upon their graduation.
References
Bailey, W. 1992. Teaching Brass: A Rezourse Manual. USA: McGraw.
Lamb, N. 1994. Guide to Teach Strings. (6th. Edit.). USA: McGraw-Hill.
Spohn, C. 1993. The Percussion: Performance and Instructional Techniques. Boston: Allyn and Bacon Inc.
Starr, Constance. 1992. Practical Piano Skills (5th editi.). USA : McGraw.
Tanner, Paul O. 1997. Jazz (8th.edit.). USA : McGraw.
Ware, C. 1998. Basic of Vocal Pedagogy. USA: McGraw.
Westphal, F. 1992. Guide to Teaching Woodwinds (5th edit.). USA: McGraw.
CM11601 MALAYSIAN TRADITIONAL MUSIC I
This course gives students the opportunity to play traditional instruments that are commonly found in Malaysia and one
of these instruments is the gamelan. The students are taught to read numbers, a form of musical notation, to play the
various gongs that are found in a Gamelan ensemble. Local repertoires would include traditional and popular tunes.
www.ums.edu.my/astif +6088-320000 [email protected]
References
Tan Sooi Beng. 1984. Asas-asas Muzik. USM Pulau Pinang.
Mohd. Ghouse Nasaruddin, 1989. Muzik Melayu Tradisi. Kuala Lumpur: Dewan Bahasa dan Pustaka
Matusky, P. & Tan, S.B. (1997). Muzik Malaysia: Tradisi Klasik, Rakyat dan Sinkretik. Pulau Pinang: Asian Centre Penang
& Akademi Seni Kebangsaan.
Aziz Deraman & Wan Ramli Wan Mohamad. (1994). Muzik dan Nyanyian Tradisi Melayu. Kuala Lumpur: Fajar Bakti.
Nik Mustapha Nik Mohd. Salleh. (1998). Alat Muzik Tradisional Dalam Masyarakat Melayu. Kementerian Kebudayaan,
Kesenian dan warisan Malaysia.
CM23101 MALAYSIAN MUSIC TRADITIONAL II
This course is a continuation of the course of study TRADITIONAL MUSIC I. In this course, students are taught to play
Sabah’s traditional instruments such as the bungkau, Sompoton, suling, Babadon, and Turali. Student are given various
folk songs to be played using these traditional musical instruments. The course teaches students the theoretical
foundations of traditional music using Malaysia as a reference book for students.
References
Tan Sooi Beng. 1984. Asas-asas Muzik. USM Pulau Pinang.
Matusky, P. & Tan, S.B. (1997). Muzik Malaysia: Tradisi Klasik, Rakyat dan Sinkretik. Pulau Pinang: Asian Centre Penang
& Akademi Seni Kebangsaan.
Pugh Kitingan, Jacquline. 2004. Selected papers on Music in Sabah. Universiti Malaysia Sabah.
Pugh Kitingan, Jacquline. 2003. Alat-alat dan muzik instrumental Dusun Tambunan.Kota Kinabalu. Jabatan Kebudayaan
dan
Keseniaan Negeri Sabah.
Resot Iggau & Roslee HJ. Wahid. 2012. Proses pembuatan dan teknik asas permainan alat muzik Tongkungon suku
kaum
KadazanDusun di Daerah Tambunan dan Keningau Sabah.Universiti Malaysia Sabah.
www.ums.edu.my/astif +6088-320000 [email protected]
CM 21302 HARMONY AND COMPOSITION I
This course emphasizes on the study of tonal and modern harmony of melody, transposition, basic composition and
arrangement of voices and instruments, rewriting a given passage to include appropriate suspensions and notes of
melodic decoration and analysis of music scores.
References
Howard, J. (1990). Learning to compose. New York: Cambridge University Press.
Pople, A. (1994). Theory, analysis and meaning in Music. New York: Cambridge University Press.
Turek, R. (1996). The Elements of Music. New York: The McGraw Hill Co.
Damschroder, D. (1992). Foundation of Music and Musicianship. New York: Schirmer Books.
Schenker, H. (1998). Harmony. Chicago: The University of Chicago.
Taylor, Eric, (1998). The AB Guide to Music Theory Part II. London: The Associated Board of the Royal School of Music
Publishing.
Loh, Phaik Kheng. (1991). A Handbook of Music Theory, Part I1. Penang: Rhythm Distributor Sdn Bhd.
CM 21402 HARMONY AND COMPOSITION II
This course is an advanced study of music harmonic vocabulary, the writing of piano accompaniment for keyboard and
orchestral instruments, such as Trio sonata style for keyboard and two orchestral instruments. The course also includes
the analysis of musical score from different styles and different periods.
References
Howard, J. (1990). Learning to compose. New York: Cambridge University Press.
Pople, A. (1994). Theory, analysis and meaning in Music. New York: Cambridge University Press.
Turek, R. (1996). The Elements of Music. New York: The McGraw Hill Co.
Damschroder, D. (1992). Foundation of Music and Musicianship. New York: Schirmer Books.
Schenker, H. (1998). Harmony. Chicago: The University of Chicago.
Taylor, Eric, (1998). The AB Guide to Music Theory Part II. London: The Associated Board of the Royal School of Music
Publishing.
Loh, Phaik Kheng. (1991). A Handbook of Music Theory, Part I1. Penang: Rhythm Distributor Sdn Bhd
www.ums.edu.my/astif +6088-320000 [email protected]
CM22302 ARRANGING FOR CHAMBER MUSIC
This course introduces the art of constructing musical arrangement, using various instruments in a chamber setting.
Students are introduced in the construction and the progression of Chords (harmony) to support a given melody. The
learning outcome from this course is the students’ ability to understand the relationship between melody and harmony
in their musical arrangement. The course, also cover topics such as the types of musical forms, the basic of writing for
the drum, guitar, bass guitar, piano, brass, and saxophone. Various arrangement technique such as rhythmic
alteration/variation, melodic alteration, transposition, embellishment, syncopation, and the range of musical instruments
will be covered in this course.
References
Doezema, R. 1990. Arranging I. Boston: Berklee series publication.
Kennan, K. 1990. The Techniuqe of Orchestration. N. Jersey Prentise Hall.
Nettles, Barrie. Harmony I. Boston: Berklee series publication.
Pople, A. 1994. Theory, Analysis and Meaning in Music. Great Britian: Cambridge University Press.
Ted, Pease. 1995. Arranging for Big Band and Score Analysis. Boston: Berklee series publication.
Boras, Tom. 2005, Jazz Composition and Arranging, Belmont: Thomson Schirmer.
CM21901 AURAL TRAINING III
This course is a continuation of Aural Training II and is essential for students to improve listening skills, especially on
chords, sight reading, rhythm, intervals, scales & melody. To develop the listening skills, students are trained to recognize
rhythmic patterns, melodic shapes, harmonies, intervals, scales, and rhythms. The course also covers the recognition
harmony with the triads and seventh chords. The course also covers singing scale exercises to strengthen their ability
to recognize major, minor, diminish, and half diminish scales.
References
Benward, B. 1996 Ear Training: A Technique for Listening 4th Edition. WmC. USA: McGraw-Hill Publishing.
Benward, B. 1999. Sightsinging Complete 6th Edition. USA: McGraw-Hill Publishing.
Clark, T.S. 1992. Arrays: A Worktet of Musical Patterns for Aural Development. USA: McGraw.
www.ums.edu.my/astif +6088-320000 [email protected]
Prosser, S. 2000. Essential Ear Training for the Contemporary Musician. Berklee Press.
Larry M. Workbook for Ear Training 1. Berklee College of Music.UK.
Larry M. Workbook for Ear Training 2. Berklee College of Music.UK.
Larry M. Workbook for Ear Training 3. Berklee College of Music.UK.
Larry M. Workbook for Ear Training 4. Berklee College of Music.UK.
Gary H. Encyclopedia of Reading Rhythms. Hal Leonard. USA.
CM22001 AURAL TRAINING IV
This course is a continuation of Aural Training III and is an advance level of the ear training syllabus. This course teaches
students to sing with movable “do” in a wide variety of major, minor, and modal scales. Listening skills will be measured
in two ways; the ability to identify the pitch of the melody, modulation from one tonal center to the next, rhythmic
patterns, harmonic progression, melodic intervals, and scales. Secondly, the ability to write a melodic phrase in music
notation.
References
Benward, B. 1996 Ear Training: A Technique for Listening 4th Edition. WmC. USA: McGraw-Hill Publishing.
Benward, B. 1999. Sightsinging Complete 6th Edition. USA: McGraw-Hill Publishing.
Clark, T.S. 1992. Arrays: A Worktet of Musical Patterns for Aural Development. USA: McGraw.
Prosser, S. 2000. Essential Ear Training for the Contemporary Musician. Berklee Press.
Larry M. Workbook for Ear Training 1. Berklee College of Music.UK.
Larry M. Workbook for Ear Training 2. Berklee College of Music.UK.
Larry M. Workbook for Ear Training 3. Berklee College of Music.UK.
Larry M. Workbook for Ear Training 4. Berklee College of Music.UK.
Gary H. Encyclopedia of Reading Rhythms. Hal Leonard. USA.
CM22901 MODERN HARMONY I
This course is essential to strengthen the understanding and concept of modern Harmony that is currently used in popular
music, Jazz, Rock, and other genres of music making. The application of these harmonies is essential to understand how
www.ums.edu.my/astif +6088-320000 [email protected]
pop and jazz chords are used and the scales that these chords or harmonies are formed. This course cover topics such
as Scales, Harmony, Rhythms, and Music Analysis.
References
Doezema, R. 1990. Arranging I. Boston: Berklee series publication.
Kennan, K. 1990. The Techniuqe of Orchestration. N. Jersey Prentise Hall.
Nettles, Barrie. Harmony 1. Boston: Berklee series publication.
Pople, A. 1994. Theory, Analysis and Meaning in Music. Great Britian: Cambridge University Press.
Ted, Pease. 1995. Arranging for Big Band and Score Analysis. Boston: Berklee series publication.
Boras, Tom. 2005, Jazz Composition and Arranging, Belmont: Thomson Schirmer.
Taylor, Eric.1989. The AB Guide to Music Theory Part 1: The Associated Board of the Royal School of Music, London.
CM23001 MODERN HARMONY II
This course is a continuation of Modern Harmony I and its aim is to provide an advanced knowledge of Modern Harmony
where it can be applied in musical performance, arranging exercises and composition. It is essential to strengthen their
understanding and concept of Harmony especially involvement of harmonic tensions, modulation from one key to the
next, altered scales, the various scale modes and chord progression.
References
Doezema, R. 1990. Arranging I. Boston: Berklee series publication.
Kennan, K. 1990. The Techniuqe of Orchestration. N. Jersey Prentise Hall.
Nettles, Barrie. Harmony 1. Boston: Berklee series publication.
Pople, A. 1994. Theory, Analysis and Meaning in Music. Great Britian: Cambridge University Press.
Ted, Pease. 1995. Arranging for Big Band and Score Analysis. Boston: Berklee series publication.
Boras, Tom. 2005, Jazz Composition and Arranging, Belmont: Thomson Schirmer.
Taylor, Eric.1989. The AB Guide to Music Theory Part 1: The Associated Board of the Royal School of Music, London.
www.ums.edu.my/astif +6088-320000 [email protected]
CM22402 ARRANGING FOR BIG BAND
The course introduces the concepts and fundamental principles of music arranging. These will cover melodic analysis,
construction of harmony using different voicing technique, construction of rhythms, and re-harmonizing existing
harmonies. This course focuses more on arranging for Big Band, where students are required to harmonize melodies
with modern harmonies with its “available tensions.” Students are also required to do “melodic analysis”, understand
“harmonic rhythm”, “guide tone line”, “line clichés”, “modal interchange”, “related ii-7” and the “blues”. The course is
designed to equip students with various voicing techniques that are commonly used in a small to full orchestra
arrangements that includes “four (4) parts writing”, “spread voicing”, “independent lead,” “mixed soli voicing” and
countermelodies or background writing in the arrangement.
References
Doezema, R. 1990. Arranging II. Boston: Berklee series publication.
Kennan, K. 1990. The Techniuqe of Orchestration. New Jersey: Prentise Hall.
Nettles, Barrie. Harmony 1. Boston: Berklee series publication.
Pople, A. 1994. Theory, Analysis and Meaning in Music. Great Britian: Cambridge University Press.
Ted, Pease. 1995. Arranging for Big Band and Score Analysis. Boston: Berklee series publication.
Boras, Tom. 2005, Jazz Composition and Arranging, Belmont: Thomson Schirmer.
CM23301 BASIC MIDI
This course focuses on knowledge in the areas of MIDI systems, protocols, and the basics of music programming. The
spectrum of this course covers the practical theory of knowledge in music programming and MIDI technology.
Rujukan
Edstrom, Brent. 2001. Making Music with your Computer. (2nd Edition). Auburn Hills. MI
Keith, Gemmell. 2002. Get Creative with CUBASE VST; Composing and arranging with Cubase VST. PC Publishing Export
House 130 Vale Road, Tonbridge Kent TN9 1Sp UK.
Andreton, Craig. 2001. Audio Mastering. Wizoo Publishing GmbH, Bremen, Germany. Andreton, Craig. 2001. Home
www.ums.edu.my/astif +6088-320000 [email protected]
Studio. Wizoo Publishing GmbH, Bremen, Germany. Steinberg.
1999. Lesson for Life. Product and Training Information.
CM22602 MUSIC PROGRAMMING
The course focuses on how to compose music from various genres using computer software. The study teaches students
the technique of producing sound using midi, audio editing and the process of producing an album.
References
Huber, DM. 1995. Hard Disk Recording for Musicians. AMSCO Publication,
NY. Mellor, D. 1992. How to setup a Home Studio. PC Publishing.
Millward, S. 1998. Fast Guide to Cubase VST. PC Publishing. Rumsey, F. 1994. MIDI System and Control.
Focal Press. Russ, M. 1996. Sound Synthesis and Sampling. Focal Press.
CM22801 MUSIC AND BUSINESS MANAGEMENT
The music industry globally, worth billions. Music Industry activities are highly complex and diverse in terms of its
implementation. Thus, it is necessary to equip individuals the knowledge of music business and its management by
involving them in the music and entertainment industry. The main objective of the course is to disseminate knowledge
of the music business adequately to the students through lecture, discussion, and analysis of business data. Students
will also be given the task of reviewing the development of the local music industry more closely through field work to
know the various organization and key individuals in the music industry and establish a networking between the students
with organizations in the music industry.
References
Attali, J. 1996. Noise: The Political Economy of Music. Univ. Of Minnesota Press. US.
Barrow and Newby. 1995. Inside the Music Business. Blueprint.
Fink M. 1996. Inside the Music Industry; Creativity, Process and Business. Schirmer Book. 1996 & 1997.
International Federation of Phonographic Industries, music, and copyright.
D, Weissmen. 1997. The Music Business: Career Opportunities and self defence. Three Rivers Press, NY.
www.ums.edu.my/astif +6088-320000 [email protected]
CM32702 CONDUCTING
This course trains students to work with musicians in a group, and they must be able to convey musical intentions to
players by means of gestures. It trains students to use physical parts of the body such as the eyes, the left and right
hands as a means of communication. Students will learn how to obtain artistic results by being able to communicate
nuances in dynamics, phrasing, articulation (legato & Staccato), and general expressions. They will also learn about the
various ensembles they encounter and how to work with them.
References
Forsyth, C. 1992. Orchestration. New York: Dover Publication Inc.
Green, E. 1992. The Modern Conductor. Prentice Hall.
Jonathan, D., Arnold, W. 1990. Music Analysis in Theory and Practice. Faber and Faber.
Ted, P. 1990. Arranging for Big Band and Score Analysis. Boston: Berklee Series Publication.
Young, H. 1991. Orchestra. Chatto and Windus. Prentice Hall.
CM33302 ORCHESTRATION
Ochestration technique provides students with the various techniques for writing a full orchestra. This course will give
students a better understanding how various instruments interact with one another and the many possible combination
of sounds to create certain sound textures in the arrangment, characteristics of various instruments, range of
instruments, proper notation, and sound of special effects. Students will learn four (4) elements that are important to an
orchestration, economy, focus, variation and balance.
References
Alfred Blatter (Drexel University) – Instrumentation/Orchestration. Schirmer Books, Division of Macmillan, Inc. New York.
Don Sebesky. The Contemporary Arranger (Revised Edition). Alfred Publishing Co. Inc. Henry Mancini. Sound and Scores.
Northridge Music, Inc.
Kent Kennan, Donald Grantham -The Technique of Orchestration 3rd edition.
Nicholas Rhimsky. Principal of Orchestration. Oxford Univ. Press
www.ums.edu.my/astif +6088-320000 [email protected]
CM33502 STUDIO RECORDING TECHNOLOGY APPLICATION I
This course prepares students with the knowledge and the techniques of recording audio using digital-based equipment
in the music recording industry. The students will be exposed to digital studio application such as the essential
preparations, recording audio signals, editing, and mixing. The students will learn the functions of an equalizer and sound
effects that a re commonly used during recording. Students are given the opportunity to use the recording facilities such
as the Pro Tools Digital Studios at the School of Arts to produce recording projects or assignments.
References
Cunningham, M., (1996) Good Vibration. Penguin Castle Communications. Erne, M., (1998).
Digital Audio CD Resource Pack. Focal Press.
Huber & Runstein., (1997). Modern Recording Techniques (4th Edition). Focal Press.
Nisbett, A., (1997)., The Use of Microphones (4th Edition). Focal Press.
White, P., (1996). Recording and Production Techniques for the Recording Musician. London Sanctuary.
Davis, G & Jones, R., (1990). Sound Reinforcement Handbook (2nd Edition). Hal Leonard Corporation.
Gibson, D., (1997). The Art of Mixing: A Visual Guide to Recording, Engineering, and Production. Mix Books.
CM35002 STUDIO RECORDING TECHNOLOGY APPLICATIONS II
This Studio Recording Technology Application Course is an advanced course on Studio Recording Technology Application
I in providing students with skills and mastery of digital analog music recording techniques using relevant and latest
professional music software in the music recording industry. Students are also exposed to the method of analog digital
recording with the work of mixing and 'mastering' from the beginning to the production of an album.
Rujukan
Cunningham, M. 1996. Good Vibrations. Penguin Castle Communications.
Erne, M. 1998. Digital Audio CD Resource Pack. Focal Press.
Huber & Runstein. 1997. Modern Recording Techniques 4th Edition. Focal Press.
Nisbett, A. 1994. The Use of Microphones. 4th Edition. Focal Press.
White, P. 1996. Recording and Production Techniques for the Recording Musician. London Sanctuary.
www.ums.edu.my/astif +6088-320000 [email protected]
CM34102 ARRANGING FOR WIND ORCHESTRA
This course focuses on the arranging techniques for wind orchestra, mainly brass, saxophone and the woodwinds. The
students will be able to understand the relationship between the different timbre of these instruments and the practical
range for players to play. An understanding of each character of the instrument is necessary before applying it in their
music arrangement. Students are introduced to the various musical forms found in music composition. Various arranging
techniques such as rhythmic alteration, melodic alteration, transposition, embellishment, syncopation, and voicings will
be covered in th is course.
References
Doezema, R. 1990. Arranging II. Boston: Berklee series publication.
Kennan, K. 1990. The Techniuqe of Orchestration. New Jersey: Prentise Hall.
Nettles, Barrie. Harmony 1. Boston: Berklee series publication.
Pople, A. 1994. Theory, Analysis and Meaning in Music. Great Britian: Cambridge University Press.
Ted, Pease. 1995. Arranging for Big Band and Score Analysis. Boston: Berklee series publication.
CM34002 AUDIO VISUAL DIGITAL TECHNOLOGY
Audio visual digital technology is a practical base course design to prepare students with the latest technology in the
audiovisual industry. Students will cover the process of recording and editing using the current market software that is
available. The course will teach students how to produce video clips or documentaries using software that are found at
the various studios at the School of Arts. Besides the musical software, students will be able to learn and used other
software such as Adobe Premiere, Digidesign ProTools LE, MacroMedia Flash dan Adobe Photoshop.
References
Fawcett, N. 1994. Multimedia. Hodder Headline.
Persidsky, A. 2000. Premiere: For Macintosh & Window. Peachpit Press.
Persidsky. A. 2000. Photoshop: For Macintosh & Window. Peachpit Press.
Sinclair, IR. 1991. Introduction to Digital Audio (2nd Edit.).
Watkinson, J. 1994. An Introduction to Digital Video. Focal Press.
www.ums.edu.my/astif +6088-320000 [email protected]
CM35202 ARRANGING FOR POP ORCHESTRA
The course covers the advance techniques of music arranging especially for pop orchestra. The course also covers the
various orchestral instruments such as the brass, saxophone, strings, and rhythm section. Students are taught to write
tutti writings, concerted, voicing in seconds (clusters), voicing in fourths, upper structure triads & writing of foreground,
middle ground, and background melodies. The course also requires students to score analysis of different arrangers and
composers.
References
Doezema, R. 1990. Arranging II. Boston: Berklee series publication.
Kennan, K. 1990. The Techniuqe of Orchestration. New Jersey: Prentise Hall.
Nettles, Barrie. Harmony 1. Boston: Berklee series publication.
Pople, A. 1994. Theory, Analysis and Meaning in Music. Great Britian: Cambridge University Press.
Ted, Pease. 1995. Arranging for Big Band and Score Analysis. Boston: Berklee series publication.
Felts, Randy. 2002. Reharmonization Techniques. Berklee Press. Boston, USA.
Boras, Tom. 2005. Jazz Composition and Arranging. Schirmer, USA
CM35103 PRE-GRADUATION RECITAL
Pre-Graduation Recital is a requisite for third year students’ preparation for their final recital. It involves solo performance
of pieces prepared during their fifth semester to ensure that the students, with the guidance of their lecturers, are well
prepared for their final recital at their final semester.
References
ABRSM. (1999). Scales and arpeggios for saxophone, grade 1-8.
Duro, S. (1999). Easy classic tunes, Chester Music Ltd.
Honey, P. (2000). No.1 Hits, Wise Publications
Honey, P. (1999). Swing, Wise Publications
Snidero, J. (1996). Jazz conception, Advance Music.
www.ums.edu.my/astif +6088-320000 [email protected]
Long, J. (1998). Classic blues, Wise Publications Snieckowski, S. Wybor etiud na oboj, book 2
Long, J. (1999). Jazz playalong for Saxophone, Wise Publications.
Waignein, A. (2000). Concertino, De Haske Publications BV.
Blume, Jason., (1999). 6 Steps to Songwriting Success. New York; Watson-Guptill Publication.
Nettles, Barrie. Harmony I. Boston: Berklee Series Publication.
www.ums.edu.my/astif +6088-320000 [email protected]
CREATIVE ARTS PROGRAMMES (UH6212002)
CA22403 PRODUCTION PROCEDURES II
The Production Procedure 2 educates students on the aspect of video and film production management which covers
pre-production aspect, production and post-production. Practically, students will be exposed to processes and procedures
of film-making such as script development and pre-visualization, budget preparation, actor selection and production
force. In filming of a film, students will be exposed to the ‘take’ technique, shot composition, sound recording and
lighting. At the post-production level, students will also be exposed to editing and visual effects.
References
Cleve, Bastian. 2005. Film Production Management, 3rd ed. Focal Press.
Gates, Richard. 2001. Production Management for Film and Video, 3rd Ed. Focal Press.
Irving, David K & Rea, Peter W. 2006. Producing and Directing the Short Film and Video, 3rd ed. Focal Press. Lyver, Des
& Swainson, Graham. 2002. Basics of Video Production, 2nd ed. Focal Press.
Whitaker, Jerry. 2002. Master Handbook of Video Production. McGraw-Hill Professional.
CA24403 TEATER, FILM AND BUSINESS
This course exposes students to the film and theater business structure which includes production, distribution and
screening. Each of these aspects will be discussed in detail in this course. The importance of studio systems and free-
filmmakers will be explained upon the discussion on production aspects. The form of distribution covers the selection of
distributors, and the payment of distribution fees will be discussed. As for the showing aspect, the government policy
such as compulsory shows and cinema issues will be discussed.
References
Bosko, Mark Steven. 2005. The Complete Independent Movie Marketing Handbook. Michael Wiese Productions.
Durie, John, Pham Annika & Watson Neil. 2000. Marketing & Selling Your Film Around the World: A Guide for Independent
Filmmakers. Silman-James Press.
www.ums.edu.my/astif +6088-320000 [email protected]
Goodell, Gregory. 1998. Independent Feature Film Production: A Complete Guide from Concept Through Distribution. St.
Martin’s Press.
Litwak, Mark. 2004. Risky Business: Financing & Distributing Independent Films. Silman-James Press. Squire, Jason E.
2004. Movie Business Book 3rd ed. Simon & Shchsuter.
CA31703 THEATER AND FILM PUBLICATION TECHNOLOGY
This course is a continuation of the CA22403 Production Procedure 2 (PP2) course. As PP2 exposes students to the film
and theater production process comprehensively, this course focuses on the production process which consists of the
uses and changes of technology such as pre-visualization process, cinematography (camera), video / film and audio
editing process, visual effects, film processing and technology shows (satellite and 3D). Students will also be exposed to
new media such as web based technologies as a platform to publish publications. Through the individual producing digital
films practical, this course is expected to strengthen students' skills in the field of video or filmmaking.
References
Goodman Robert M. & McGrath, Patrick. 2002. Editing Digital Video : The Complete Creative and Technical Guide.
McGraw-Hil
Rizzo, Michael. 2005. Art Direction Handbook for Film. Focal Press.
Proferes, Nicholas. 2004. Film Directing Fundamentals: See Your Film Before Shooting, 2nd Ed. Focal Press. Wells,
Peter. 2006. Digital Camcorder Technique (Illustrated). Crowood Press, Limited.
Whitaker, Jerry. 2002. Master Handbook of Video Production. McGraw-Hill Professional.
CA30402 GRAPHIC COMMUNICATION
This course focuses on the awareness of the importance of graphics in the marketing of a product. Through the use of
the latest technology, students will learn how to market their artistic skills and their end products.
References
Ashford, G. 1990. Everyday Publicity: A Practical Guide. Law -Arts.
www.ums.edu.my/astif +6088-320000 [email protected]
Newman, D. 1994. Subscribe Now! Building Arts Audience Through Dynamic Subscription Promotion. New York: Drama
Book.
Reiss, A. H. (ed.) 1993. Market the Arts! New York: FEDAPT.
Tooley, M. 1997. Computer Engineer’s Book. Butterworth-Heineman
Wolf, T. 1990. Presenting Performers. Cambridge, MA: New England Foundation for the Arts.
CA33102 MEDIA PUBLICATION MANAGEMENT
This course will expose students to the basic publishing techniques covering pre- and post-publications such as production
of print and electronic media such as video and film production. The production processes of print media such as books
and newspaper production covers editing process, spellchecking, printing and up to the print media retailed will be
discussed. Whereas in video and film production, students will be exposed to linear and non-linear techniques in
producing a short film production or commercial film.
References
Helmut Kipphan (Editor). 2001. Handbook of Print Media. Springer.
Giuseppe Cristiano. 2012. The Storyboard Artist: A Guide to Freelancing in Film, TV, and Advertising. Michael Wiese
Productions
Thomas A. William. 2002. Publish Your Own Magazine, Guide Book, or Weekly Newspaper: How to Start, Manage, and
Profit from a Homebased Publishing Company. Sentient Publications
Mamer, Bruce. (2000) Film Production Technique: Creating The Accomplished Image. USA: Wadsworth/Thomson
Learning. Sandra Moriarty. 2011. Advertising & IMC: Principles and Practice, 9th Edition. Prentice Hall
CA30802 WORK AND COPYRIGHT
This course introduces students to the law of copyright and law in applied field. In addition, this course will also focus
on to the legal principles of print and electronic media publishing, the rights of prohibition of publication. Discussion of
this course will also use some current issues such as piracy and plagiarism as well as its impact on existing laws.
www.ums.edu.my/astif +6088-320000 [email protected]
References
Frough, William. 1991. Screen Writing Tricks of the Trade. London: Silman James. Gleen, Ethel C.
1997. Strategic Newspaper Management. New York: Allyn Bacon.9
Related Act:
1. Akta A1420 Akta Hak Cipta (Pindaan) 2012
2. Akta A1485 Akta Hasutan (Pindaan) 2015
3. Akta A1436 Akta Mesin Cetak dan Penerbitan (Pindaan) 2012
4. Akta 815 Akta Cap Dagangan 2019.
5. Akta 606 Akta Cakera Optik 2000
6. Akta 617 Perbadanan Harta Intelek 2002
CA32703 NOVEL WRITING
As an introduction to novel writing, students will be taught regarding definition, history, and development of novel in
Malaysia. Aesthetic concepts and various novel writing techniques will be exposed to students. In addition to that, various
literary theories in relation to novel writing will be taught to the students.
References
DiYanni, Robert. 2001. Fiction: An Introduction. Singapore: McGraw Hill.
Jefferson, Ann dan Robey, David (ed.). 1988. Teori Kesusasteraan Moden: Pengenalan Secara Perbandingan (Terj.
Mokhtar
Ahmad). Kuala Lumpur: Dewan Bahasa dan Pustaka.
Rahman Shaari. 1993. Memahami Gaya Bahasa. Kuala Lumpur: Dewan Bahasa & Pustaka.
Scholes, Robert and Kellogg, Robert. 1966. The Nature of Narrative. London, Oxford, New York: Oxford University Press.
Wellek, Rene dan Warren, Austin. 1988. Teori Kesusasteraan (Terj. Wong Seng Tong). Kuala Lumpur: Dewan Bahasa &
Pustaka.
CA32202 ACADEMIC WRITING
This course teaches students on matters regarding writing proposal and thesis. Among the focus are format and forms
of academic writing, including the whole thesis writing process – from the stage of writing the draft to the stage of
completing the thesis.
www.ums.edu.my/astif +6088-320000 [email protected]
References
Bernard, H.R. and Ryan, G.W. 2007. Analyzing Qualitative Data: Systematic Approaches. London: Sage. Chris, H. 1998.
Doing a Literature Review. London: Sage.
E.R. Kjell. 1992. Surviving your Dissertation: A Comprehensive Guide. London: Sage. Harrop, J. 1991.
Writing and Editing. New York: Allyn & Bacon.
Ingalls, A & Moody, D. 1997. Within Reach: A Guide to Successful Writing. New York: Allyn & Bacon. Salkind, N.J. 2009.
Exploring Research. New Jersey: Pearson Education Inc
CA20302 PENULISAN MEDIA
Kursus ini menumpukan kepada kepentingan imej visual dan suara dalam penulisan media; juga membincangkan ciri-
ciri penulisan yang baik untuk media penyiaran media (tv dan radio). Pelajar diperkenalkan teori-teori berkaitan dengan
media massa dan masyarakat sebelum didedahkan secara langsung dengan penulisan media.Di samping itu
mereka diberi peluang menilai dan membuat perbandingan format penulisan media antarabangsa.
Rujukan
Epstein, E.J.1975. Between Fact and Fiction: The Problem of Journalism. New York: Vintage Books. Gerald, Millerson.
(1995). (12th.Ed): The Technique of Television Production. London: Hartnolls Ltd. Hulteng, J.L. 1979. The News media:
What Makes Them Tick? Englewood Cliffs, NJ: Prentice Hall.
Mamer, Bruce. (2000). (2nd.ed) Film Production Technique: Creating the Accomplished Image. USA: Wadsworth. Merrill,
J.G.
1994. The Imperative of Freedom. New York: Freedom House. Writing and Editing. New York: Allyn & Bacon.
Ingalls, A & Moody, D. 1997. Within Reach: A Guide to Successful Writing. New York: Allyn & Bacon. Salkind, N.J. 2009.
Exploring Research. New Jersey: Pearson Education Inc.
CA10502 HISTORY OF DANCE
This course introduces students to the history and theories of dance art in Asia. With this knowledge students are able
to understand the process of creation and the source of the various dance that will assist them in reinforcing their
performance.
www.ums.edu.my/astif +6088-320000 [email protected]
References
Agus Tasman, 2006. Analisa Gerak dan Karakter: Surakarta: Sekolah Tinggi Seni Indonesia (STSI).
Margaret N. H Doubler, 2005. “Dance”: USA: University of Wincorsin Press Medison.
Soedarsono, 2000. Notasi Laban. Proyek Kesenian Direktorat Pembina Kesenian Ditijen Kebudayaan. Jakarta:
Pepartemen Pendidikan dan Kebudayaan.
CA23103 COMPOSITION AND CHOREOGRAPHY
This course allows students to learn about the key elements of producing good staging - from the use of space by
dancers, music and dance scores to the use of stage and technical tools. The combination of composition and
choreography will produce a dynamic and balanced visual staging. Students' theoretical knowledge will be strengthened
through practical training.
References
Cheney, G. 1989. Basic Concepts in Modern Dance: A Creative Approach (3rd ed.). Princeton Book Co Pub. Franklin, E.N.
Dance Imagery for Technique and Performance. 2005. Human Kinetics (T). Franklin, E.N. 1997. Dynamic Alignment
Through Imagery. Human Kinetics (T).
Howse, J. & McCormack, M. 2000. Dance Technique and Injury Prevention (3rd ed.). Theatre Arts Books.
Todd, M.E. 2006. The Thinking Body: A Study of the Balancing Forces of Dynamic Man. Princeton Book Co Pub.
CA21202 DANCE ART TECHNIQUES II
This course is a continuation of the dance art techniques (i) course which provides exposure to more complex motion
techniques. The focus of learning is on the basic concepts of presentation techniques such as kinesthetic awareness,
concentration / focus, fluidity in movement transitions, clarity of ryhthmic acuity, spatial intent, full exploration of energy
fluctuation and link of inner intent to outer expression for complex movement techniques. In addition, students will also
look at the aspects of alignment, strength and flexibility of one's body. Students also have the opportunity to explore
spaces controlled by different dynamics and rhythms and to form appropriate phrases.
www.ums.edu.my/astif +6088-320000 [email protected]
References
Cheney, G. 1989. Basic Concepts in Modern Dance: A Creative Approach (3rd ed.). Princeton Book Co Pub. Franklin, E.N.
Dance Imagery for Technique and Performance. 2005. Human Kinetics (T). Franklin, E.N. 1997. Dynamic Alignment
Through Imagery. Human Kinetics (T).
Howse, J. & McCormack, M. 2000. Dance Technique and Injury Prevention (3rd ed.). Theatre Arts Books.
Todd, M.E. 2006. The Thinking Body: A Study of the Balancing Forces of Dynamic Man. Princeton Book Co Pub.
CA21802 DANCE EDUCATION
This course demonstrates the role of practical knowledge in dance. Will be discussed is the epistemological approach,
experience and social structuring of a knowledge, especially in dance education and training.
References
Azman Rahman Aroff & Zakaria Kasa. (2002). Falsafah dan Konsep Pendidikan (Edisi Kedua). Shah Alam: Fajar Bakti
Sdn.Bhd.
Bressen, E.S. & Woollacott, M.H. (2004). A Prescriptive Paradigm For Sequencing Instruction in Physical Education.
Human
Movement Science. 1. Holand: North Holland Publishing Company.
Gough, Mari on. (1999). Knowing Dance: A Guide for Creative Teaching. London: Cecil Court.
Salmah Ayob. (2005). Pergerakan Kreatif dan Pendidikan. Petaling Jaya: Flo Enterprise Sdn. Bhd.Istilah Pendidikan. Kuala
Lumpur: Dewan Bahasa & Pustaka.
CA30903 DANCE ETHNOLOGY
This course introduces and focuses on the understanding and understanding of dance culture in its entirety. By touching
on various disciplines such as sociology and anthropology, musicology, dance, folklore and so on, he hopes to help
students understand what dance is all about in the context of human behavior.
References
Cerron i-Long, E.L. (ed) (2002). Anthropological Theory in North America. London: Bergin & Garvey. Ely, Margotet.al.
(1991). Doing Qualitative Research: Circles Within Circles. London: Falmer Press. Gaillard, Gerald,. (2003). The Routledge
www.ums.edu.my/astif +6088-320000 [email protected]
Dictionary of Anthropologists. New York: Routledge. Gingrich, Andre and Fox, Richard G. (2002). Anthropology, by
Comparison. London: Routledge.
Peregrine, Peter N. (1996). Ethnology Versus Ethnographic Analogy: A Common Confusion in Archaeological
Interpretation. Cross-Cultural Research. Vol 30.8
CA33702 DANCE ANALYSIS
This course focuses on ways to analyze an art performance, especially dance performance in terms of performance form,
performance pattern, movement technique, performance environment, performance uniqueness, performance
weaknesses, aesthetic values and disciplines associated in performance. This course allows students to follow the process
of delivering critical but constructive output in the context of writing about performing arts. Case study methods are used
to achieve a satisfactory level of learning.
References
Limputtong, P. and Ezzy, D. 2005. Qualitative Research Methods. Hongkong: Oxford University Press.
Agus Tasman, 2002. Analisa Gerak dan Karakter: Surakarta: Sekolah Tinggi Seni Indonesia (STSI).
Soedarsono, 1978. Pengantar Pengetahuan Dan Komposisi Tari: Yogyakarta: Akademi Seni Tari Indonesia.
Soedarsono, Komposisi Tari Elemen-Elemen dasar. 2003. Yogyakarta: Akademi Seni Tari Indonesia.
CA34302 EARLY PROJECT
This course exposes students to the process of preparing proposal papers for performing arts for dance and theater arts
modules. Students are exposed to create and study scripts / scripts and dance concepts that will be presented in the
form of power point presentations. Students will undergo two presentations to refine / strengthen the proposal paper to
be brought to the final project as a presentation work to be implemented in semester 6.
References
Soedarsono,1978. Pengantar Pengetahuan Dan Komposisi Tari. Yogyakarta: Akademi Seni Tari Indonesia. Margaret
N.H’Doubler, 1989. Dance A Creative Art Experience. USA: University Of Winconsin Press Medison.
www.ums.edu.my/astif +6088-320000 [email protected]
Judith Lynne Hanna Dance, 1988. Sex and Gender Sign Of Identity Dominance, Defiance And Desire. Chicago: University
Of Chicago Press.
La Meri oleh Soedarsono, 1975. Komposisi Tari Elemen-Elemen dasar. Yogyakarta: Akademi Seni Tari Indonesia. Umar
Kayam, 1981. Seni, Tradisi, Masyarakat: Sinar Harapan.
Rustopo, 1991. Gendhon Humardani Pemikiran dan Kritiknya. Surakarta: STSI-Press.
Deddy Mulyana, 1990. Komunikasi Antarabudaya. Bandung: PT. remaja Rosdakarya Bandung.
CA32802 NOTATION DANCE
This course reveals a special writing system that records movement vocabulary in the form of scores or movement
graphs. Students will be taught how to make motion notations for a dance performance which will be used as a reference
and manuscript for the production of the second performance.
References
Ann Hutchinson. 2008. Labanotation or Kinetography Laban The System of Analyzing and Recording Movement. Revised
and Expanded third edition. New York: Theatre Arts Books.
Ann Hutchinson. 2005. Labanotation or Kinetography Laban The System of Analyzing and Recording Movement. Revised
and Expanded second edition. New York: Theatre Arts Books.
Joko Aswoyo. 1993. Notasi Laban Kajian Dan Penerapan Dalam Tari Tradisi Jawa. STSI Surakarta
Soedarso no., 1978-1979. Notasi Laban. Proyek Kesenian Direktorat. Jakarta: Pembina Kesenian Dirjen
Kebudayaan Departemen Pendidikan dan Kebudayaan
CA10603 BASIC ACTING
CA10603 Basic Acting This course is a basic acting course that focuses on the history of the development of acting art
and an introduction to an actor's self-preparation techniques. Students will be exposed theoretically and practically on
the basis of existing acting theory. This exposure is to enable students to make initial preparations before they focus in
the theater module and learn in depth about specific acting techniques.
References
Cassady, M. 1988. Acting; Step by Step. California. Resource Publications.
www.ums.edu.my/astif +6088-320000 [email protected]
Hapgood, Elizabeth R. 1986. Constantin Stanislavski; An Actor Prepares. Great Britain. Methuen Drama. Berry, C. 1993.
Voice and the Actor. Great Britain. Virgin Books.
Scher Anna & Verrall,C. 1975. 100 + Ideas for Drama. Great Britain. Heinemann. Barkworth, P. 1991.
The Complete About Acting. USA. Metheun Drama.
Barker, C. 1995. Theatre Games. England. Methuen Drama.
Boal A. 1992. Games For Actors and Non-Actors. London. Routledge.
CA21702 PRODUCTION PROSEDUR I
This course focuses on the administrative management aspect in a theatrical production. Students majoring in the theater
component are required to participate in this field in addition to the other theater courses offered.
References
Parker, W.O. 2003. Scene Design and Stage Lighting. USA. Wadsworth/Thompson Learning. Brockett, Oscar G.
1999.The Essential Theatre, Florida. Harcourt Brace & Company.
Menear Pauline & Hawkins, T. 1988, Stage Management and Theatre Administration. Oxford. Phaidon Press Limited.
Huxley
Michael & Witts, N. 1996. The Twentieth-Century Performance Reader. London. Routledge. Allain Paul & Harvie, J. 2006.
Theatre and Performance. London. Routledge.
CA21903 ACTING TECHNIQUE I
This course is an extension of the CA1122 Basics Course. Students will learn more about Stanislavski's modern play
technique known as the Play System. Apart from learning the theory and ethics of acting, character and character studies
and body preparation techniques in more depth, students are also asked to apply the techniques learned to the stage
based on the scenarios and theater scripts selected / determined.
References
Sohaimi Abdul Aziz 2003. Noordin Hassan; Anak Tanjung Pejuang Seni. Penerbit Universiti Sains Malaysia. Pulau Pinang.
Cassady, M. 1988. Acting; Step by Step. Resource Publications. California.
www.ums.edu.my/astif +6088-320000 [email protected]
Brockett, Oscar G. 1999.The Essential Theatre, Belmont, CA. Wadsworth.
Schutzman Mady & Cohen-Cruz, J. 2003. Playing Boal; Theatre Therapy, Activism.Routledge, London. Babbage, F. 2004.
Augusto Boal. Routledge. London
CA 22603 ACTING TECHNIQUE II
This course is an extension of the CA21903 Skills of acting course . Students will focus on improvisational technique. The
multifaceted approach to improvisation using creative and spontaneous methods is ideal for applying to children's theater
performances. Students will be exposed for 14 weeks to the history of the emergence of improvisation techniques related
to Commedia del arte, body preparation, expression and gestures, up to performances based on selected / determined
theater scripts.
References
Samad Said. 1992. Lazri Meon. Dewan bahasa dan Pustaka, Kuala Lumpur. Cassady, M. 1988.
Acting; Step by Step. Resource Publications. California.
Hapgood, Elizabeth R. 1986. Constantin Stanislavski; An Actor Prepares. Methuen Drama, Great Britain. Berry, C. 1993.
Voice and the Actor. Virgin Books, Great Britain.
Mohammad Shahidan, 1997, Koleksi Terpilih Cerita Rakyat Malaysia.
CA34503 DIRECTORY I
This course will focus on the history of the emergence of directors, the authority, features and essentials of every theater
director. Directional theories by world theater activists such as Stanislavski, Grotowski Brecht and Robert William will be
the basis of discussion and practice. Students will also apply the theory of instruction learned by producing a theatrical
performance.
References
Andika Aziz Hussin, 2008. Prosedur Pengurusan Produksi Teater. UMS, Sabah.
Rodgers, James W. 1995. Play Director’s Survival Kit. The Centre for Applied Research in Education. New York. Catron,
www.ums.edu.my/astif +6088-320000 [email protected]
Louis E. 1989. The Director Vision. Mayfield Publishing Company. Mountain View, CA.
Brockett, Oscar G. 1999. The Essential Theatre, Belmont, Wadsworth, CA.
Menear Pauline & Hawkins, T.1988, Stage Management and Theatre Administration. Oxford. Phaidon Press Limited.
CA33902 TECHNICAL THEATER
This course will expose students to the importance of visual elements, especially the arrangement of light and sound in
a theatrical performance. Students will be exposed to the role of light and sound arrangement. Students will learn theory
and practice about each part as well as the role played by each part.
References
Parker W.O.2003. Scene Design and Stage Lighting.USA. Wadsworth/Thompson Learning.
J.Micheal Gillette.1999.Theatrical Design and Production.4th Edition. Mayfield Publishing Company. Mountain View, CA.
Mc
Candless,S.1958. A Method of Lighting the Stage.Theatre Art Books. New York.
Menear Pauline & Hawkins, T.1988, Stage Management and Theatre Administration.Phaidon Press Limited. Oxford. Kaye,
Deena & Lebrecht,J.1992. Sound and Music for the Theatre. Back Stage Books. New York.
CA23602 PENULISAN RETORIK
This course introduces students to the history of the europian classical theatre developments and its influences
throughout the world up to Malaysia. This course is divided into two parts, namely the historical development of Western
theaters and the history of the Malaysia theatres development. Students are also exposed to traditional theater forms
and modern theater forms in Malaysia.
References
Schecner, R. 2003. Performance Studies. London. Routledge.
Mohd Taib Osman. 1987. Kajian Budaya dan Masyarakat di Malaysia. Kuala Lumpur. Dewan Bahasa dan Pustaka. Rahmah
Bujang. 1994. Drama Melayu; Dari Skrip ke Pentas. Kuala Lumpur. Dewan Bahasa dan Pustaka.
www.ums.edu.my/astif +6088-320000 [email protected]
Mana Sikana. 2006. Drama Melayu Tradisional, Moden dan Pasca Moden. Kuala Lumpur. Dewan Bahasa dan Pustaka.
Solehah Ishak. 1990. Pengalaman Menonton Teater. Kuala Lumpur. Dewan Bahasa dan Pustaka. Carlson, M. 1996.
Performance. London. Routledge
CA22202 TEATER EDUCATION
This course will expose students to the introduction of theatrical elements in education- spesifically in the teaching and
learning process both formally and informally. The different learning process from the conventional techniques that use
only pens and paper. Students will understand the history, development of TIE, issues and elements in TIE. Students
will be trained to apply these elements and produce a play to be presented to the audience. The success of the project
will be assessed through the reaction and involvement of the audience, especially the children.
References
Davis, Jed H. & Evans, Mary Jane, (1982), Theatre, Children and Youth, USA: Anchorage Press.
McCaslin, Nellie, (1971), Theatre for Children in the United States: A History, USA: University Of Oklahoma. Fiske, Pat S.
& Spealy, James L., (nd), Curtain Calls: Puppetry for Seniors, Austin Texas: University of Texas
CA31603 STAGE SINOGRAPHY
This course will expose students to the process of making the artistic elements in a theatre performances, the importance
of each visual, kinetic and auditory elements present in a stage performances as well as its impact on the audience.
Students will be specifically exposed to how to make an artistic aspect synthesizes from a manuscript. Through this
course students will also be asked to watch some form of theater and they will need to make academic reviews of the
visual, kinetic and auditory aspects of the staging.
References
Brockett, Oscar G. 1999. The Essential Theatre, Belmont, CA. Wadsworth.
Catron, Louis E. 1989. The Director’s Vision. Mayfield Publishing Company. Mountain View, CA.
J.Michael Gillette. 1999. Theatrical Design and Production. 4th edition. Mayfield Publishing Company. Mountain View, CA.
www.ums.edu.my/astif +6088-320000 [email protected]
Kaye, Deena & Lebrecht, J. 1992. Sound and Music for the Theatre. Back Stage Books. New York.
McCandless,S. 1958. A method of Lighting the Stage. Theatre Arts Books. New York.
Menear Pauline & Hawkins, T. 1988, Stage Management and Theatre Administration. Phaidon Press Limited. Oxford.
Parker, W.O. 2003. Scene Design and Stage Lighting. USA. Wadsworth/Thompson Learning.
CA33003 DIRECTORY II
This course is a continuation of the CA22803 Directing I course. At this stage students will delve into the theories they
have previously learned in practice. Students will be trained to identify and overcome problems in groups. Assessment
of the self-development stages will be seen through the weekly assessment of the production work process performed.
References
Andika Aziz Hussin, 2008. Prosedur Pengurusan Produksi Teater. UMS, Sabah.
Catron, Louis E. 1989. Play Director’s Vision. Mayfield Publishing Campany. Mountain View,CA.
Dean, Alexander. (1974). 3rd edition. Fundamentals of Play Directing. New York: Holt, Rinehart & Winston. Inc. Hodge,
Francis. (1994). 4th edition. Play Drama: Analysis, Communication and Style. New Jersey: Prentice Hall. Rodgers, James
W. (1995). Play Director’s Survival Kit. New York: The Centre for Applied Research in Education.
CA10103 HISTORY OF MALAY LITERATURE
The historical development of the Malay literature will be the focus of this course. Three main stages of the history of
Malay literature in Malaysia will be discussed; starting from the period of oral tradition (folk-literature), the period of
Malay court literature (classical Malay literature) to the period of new literary genre, like poem, short story and novel
being introduced to the Malay world.
References
Ali Ahmad, Siti Hajar Che Man & Jelani Harun. 2005. Tasawwur Islam dalam Kesusasteraan Melayu Tradisional. Pulau
Pinang: Penerbit Universiti Sains Malaysia.
Li Chuan Siu. 1981. Ikhtisar Sejarah Pergerakan dan Kesusasteraan Melayu Moden: 1945-1965. Kuala Lumpur: Dewan
Bahasa dan Pustaka.
www.ums.edu.my/astif +6088-320000 [email protected]
Safian Hussain , Mohd. Thani Ahmad dan Johan Jaafar (penye.). 2006. Sejarah Kesusasteraan Melayu . Kuala Lumpur:
Dewan Bahasa dan Pustaka.
Siti Hawa Hj Salleh. 1997. Kesusasteraan Melayu Abad kesembilan Belas. Kuala Lumpur: Dewan Bahasa dan Pustaka.
Winstedt, R.O. 1972. A History of Classical Malay Literature. Kuala Lumpur: Oxford University Press.
CA20203 SCRIPT WRITING
This practical based course need the students to produce film script for either short movie, telemovie, fictional movie
and documentary. Students will be exposed to the creative process and scriptwriting format. Script elements such as
story concept and structure, conflict, character development and dialogue also will be discussed. To strengthen the
scriptwriting process, several of films will be screened and discussed by the students.
References
Seger, Linda. 2003. Advance Screenwriting. Silman James Press.
Krevolin, Richard. 2003. How to Adapt Anything into a Screenplay. John Wiley & Son. Miller, William. 1998.
Screenwriting for film and television. Allyn & Bacon.
Cole & Haag. 1999. The complete guide to standard script formats. 11th ed. CMC publishing. Froug, William. Zen and
the art of screenwriting. 1996. Silman-James Press.
CA22703 CREATIVE INDUSTRY MANAGEMENT
This course aims to expose the students to the various creative industries that exist within and outside the country. The
exposure will allow the students to choose and decide on the genre within creative industries which they wish to pursue
further in their preparation for the final project. Lectures will cover the structure of organization of both government and
private bodies in creative industries especially in the field of publishing, film, television, animation, fashion, advertisement,
digital printing, book publication etc. Among other areas that will be included are the fundamental policies that govern
the creative industries.
www.ums.edu.my/astif +6088-320000 [email protected]
References
Brown, Paul B. 2004. Publishing Confidential: The Insider's Guide to What It Really Takes to Land a Nonfiction Book
Deal.
US: AMACOM.
Bilton, Chris. 200. Management and Creativity: From Creative Industries to Creative Management.
Australia : Wiley-Blackwell.
Mathieu, Chris. 2011. Careers in Creative Industries. US: Routledge.
Gordon Torr. 2008. Managing Creative People: Lessons in Leadership for the Ideas Economy. UK: Wiley & Sons. Caves,
Richard E.2002. Creative Industries: Contracts between Art and Commerce. US. Harvard University Press.
CA31003 MARKETING WORK
This course will expose students to the marketing concept which includes the concept of consumer behavior, purchase
decision-making process and marketing mix (4P). Discussion on marketing strategies using marketing mix (4p’s) namely,
product, price, place and promotion will be discuss in detail. Students will also be exposed to forms of business and
product marketing. To ensure that the students understand the concept of marketing, they are also required to produce
the end product which has to do with the field of the arts.
References
1. Armstrong, Gary & Kotler, Philip. 2005. Marketing : an introduction (international edition). Ed ke 5. Prentice-Hall.
2. Clow, Kenneth E & Baack, David. 2002. Integrated advertising, promotion & Marketing communication. Prentice
Hall.
3. Crawford, Merle & Benedetto Anthony Di. 2003. New products management. 7th ed. McGraw Hill.
4. Dibb, Sally et. al. 2006. Marketing: concepts and strategies. Houghton Mifflin.
5. Hooley, Graham et.al. 2008. Marketing strategy and competitive positioning. Ed. Ke-4. Prentice Hall.
www.ums.edu.my/astif +6088-320000 [email protected]
VISUAL ARTS TECHNOLOGY PROGRAM (UH6210001)
CV10102 VISUAL ARTS TEXT ANALYSIS
This course exposes students to issues related to the essence of an object in the field of visual arts. Students are given
practical understanding to appreciate a design based on some theories of appreciation. Identify elements that can be
associated with visual art texts through exploration of observations and relate visible symbolic images to the environment.
The form and the essence of the work successfully explored and translated through experience, understanding and
knowledge of art history. The basic assessment methodology is through the aspects of description, formal analysis,
interpretation and hypothesis. At the end of the course, students create an appreciation of the work of two and three-
dimensional systematically.
Reference
Dondis, D.A., (1995). A Primer of Visual Literacy (14th. edit). USA: MIT Press. Feldman, E.B., 1994. Varieties of Visual
Experience (3rd). New York: Prentice Hall. Lester, P.M. (1995). Visual Communication: Images With Messages. USA:
Wadsworth Publishing Company. Arnheim, R. (1969). Art and Visual Perception. Berkeley & Los Angeles: University of
California Press.Bruce, V. & R.Green, P. 1992. Visual Perception, Physiology, Psychlogy and Ecology (2ed.).United
Kingdom: Lawrence Erlbaum Associates Ltd. W. Richard (2015). Art and its Objects (2ed.). United Kingdom: Cambridge
University Press.
CV10302 VISUAL LITERACY I
Visual literacy introduces analytical the language of visuals that include the basics of design art, design principles and
design structure. Research is practically focused on design basics using the skills of processing and understanding the
elements of color, lines, texture, space, form and shape in the production of two- and three-dimensional artworks. This
artistic process enhances maximum creativity and understanding in the production of works. The basic knowledge of
design, design principles and structure can enhance the understanding of work ethic through the exploitation of media
creatively and innovatively.
www.ums.edu.my/astif +6088-320000 [email protected]
Reference
Arnheim, R. 1969. Visual Thinking. Berkeley: University of California Press. Colin Ware. 2008. Visual Thinking for Design.
Burlington, Massachusetts: Morgan Kaufmann. Goodman, N. 1976. Languages of Art: An approach to a Theory of
Symbols. Indianapolis: Hackett.Lois Fichner-Rathus. 2014. Foundations of Art and Design. Boston: Cengage Learning.
Nateman, D.S. 1994. Introduction to Art. USA: McGraw-Hill. Joshua Field. 2018. An Illustrated Field Guide to the
Elements and Principles of Art + Design. Morrisville: Lulu.com. Jane Davies. 2017. Abstract Painting: The Elements of
Visual Language. UK: Jane Davies Publications.
CV10502 BASIC DRAWING I
This course introduces to basic drawing, equipment and materials. Students draw basic geometric and organic shapes
by focusing on the existence of light based on nature. Students are given skills in using the equipment, understanding
basic drawing techniques, exploiting media / dry materials, understanding of lines, tonals, threads, spaces, shapes,
shapes and structure of objects. Students are also introduced to the function of space through perspective lines and
vanishing points with learning methods outside the studio. At the end of the course, students will produce drawings
based on natural and natural resources.
Reference
Albert, G., Wolf, R. 1991. Basic Drawing Techniques. Cincinnati, Ohio: North Light Books. Betti, C., & Sale, T. 1997.
Drawing A Contemporary Approach. USA: Harcourt Brace College Pub. Bowen, R. 1992. Drawing Master Class. London:
Leopard Books. Jenny Rodwell. 1989. Drawing, USA: Hamlyn.Smolucha, L. 1996. The Visual Art Companion, New Jersey
Prentice Hall. Florian Afflerbach. 2014. Basics Freehand Drawing. Birkhauser, Basel, Switzerland: Bert Bielefeld.2018.
Basics Detail Drawing, Birkhauser, Basel, Switzerland: Alain Picard. 2016. Beginning Drawing: A multidimensional
approach to learning the art of basic drawing. Walter Foster Publishing, Laguna Hills, CA, United States.
CV10702 ARTS HISTORY & AESTHETIC I
This course provides theoretical and aesthetic knowledge of the development of the history of painting in the West from
the Renaissance to the present, the philosophy of Chinese painting, Indian Sculpture and Islamic architecture. Knowledge
of western art style and eastern art philosophy is revealed through examples of works in the form of paintings, sculptures
and art objects that exist in his era.
www.ums.edu.my/astif +6088-320000 [email protected]
Reference
Jonathan, Lawrence. ( 2017). Gardner’s Art Through the Ages. The Western Perspective. USA: Cengage Learning Art.
Kuo Hsi. (1935). An Essay on Landscape Painting (translate by Shio Sakanishi). London: Murray. (70 pgs.) Merchant,
Vasant V. (2003). Siva-Nataraja: The Lord of the Dance, Drama and Music Siva-The Cosmic Dancer, Transformer,
Liberator. Contributors Journal article by; International Journal of Humanities and Peace, Vol. 19.(1). Rowland, Benjamin.
(1953). The Art and Architecture of India: Buddhist, Hindu, Jain. London: Penguin Books. (292 pgs.). Sherman E. Lee.
(1962). Chinese Landscape Painting. Cleveland: Cleveland Museum of Art.(160 pgs.) Seyyed Hossein Nasr. (1997).
Islamic Spirituality: Manifestations (editor). New York: Crossroad Herder.(548 pages). Tansey, R.G. & Kleiner, F.S.
(1996). Art Through The Ages. USA: Harcourt Brace & Company.
CV10902 DIGITAL GRAPHIC PHOTO PRODUCTION I
This course provides basic understanding, principles, concepts and skills on digital graphic publishing through the use of
computer graphics software. Students learn about the history, characters, functions of the typograpy. In terms of skills
in creating, planning, developing and making a design. Skills in drawing, interpreting, choosing colors, letters and layouts.
Students will be using Adobe Photoshop and Adobe Illustrator software to produce artworks.
Reference
Alan & Isabella. 1994. Encyclopaedia Graphic design + Designer. New York: Thames and Hudson. Hollis, R. 1997. Graphic
Design A Concise History. London: Thames and Hudsan Ltd. Marcelle Lapow Toor. 1994. Graphic Design an the Desktop.
Cornell University.Thomson Publishing Naisbitt, John. 1999. High Tech High Touch. London: Nicholas Brealy Publishing
House Lmt. Velthoven, William. 1996. Multi-Media Graphics. London: Thame & Hudson Ltd. Dr. Muhammad Yaumi. 2017.
Prinsip-Prinsip Desain Pembelajaran. Kencana, Jakarta. David Dabner & Sandra Stewart 2017. Graphic Design School.
Thames & Hudson Ltd, London, United Kingdom.
CV10202 LITERACY VISUAL II
Students are exposed with the principles of design and structures, tto understand the concept of object production
through organized artistic methods and processes. Mastery and understanding of the elements of art, design principles
and design structures can effectively increase the potential to work ethically through the exploitation of creative and
www.ums.edu.my/astif +6088-320000 [email protected]
innovative media. Learning specifically to design principles through exploitation, media diversity and techniques help and
improve students' abilities in the context of producing a design.
Reference
Arnheim, R. 1974. Art and Visual Perception. Berkeley & Los Angeles: University of Californian Press. Capon, R.
1995.Drawing Techniques. Morlborough: Crowood Press. Dodson, B. 1995. Key to Drawing. Cincinnati, Ohio: North Light
Books. Mataznan. S. 1995. Drawing Nature. Cincinnati, Ohio: North Light Books. Turner, J.R. 1995. Drawing with
Confidence. New York: Van Norstrand Reinhold.Denman Waldo Ross. 2018. A Theory of Pure Design: Harmony, Balance,
Rhythm. Wyoming (US): Creative Media Partners, LLC.Jane Davies. 2017. Abstract Painting: The Elements of Visual
Language. UK: Jane Davies Publications.
CV11002 BASIC DRAWING II
This course is an extension of the Basic Drawing (I) course. Students are exposed to a more detailed study emphasizing
the basic elements of drawing using various techniques and materials / media exploits on an object. Some real models
in the studio are studied with emphasis on analytical studies on anatomy, rate of appeal, perspective, shape and space.
Exploitation of mixed media in a composition enhances high interactive skills and creativity.
Reference
Betti, C., & Sale, T. 1997. Drawing A Contemporary Approach. USA: Harcourt Brace College Pub. Bowen, R. 1992.
Drawing Master Class. London: Leopard Books Dodson, B. 1995. Key to Drawing. Cincinnati, Ohio: North Light Books.
Mataznan, S. 1995. Drawing Nature. Cincinnati, Ohio: North Light Books.Turner, J.R. 1995. Drawing with Confidence.
New York: Van Norstrand Reinhold. Powell, W.F. 2020. Drawing Landscapes: Learn to draw Outdoor Scenes Step by
Step. Walter Foster Publishing
CV10602 DIGITAL GRAPHIC PRODUCTION II
This course provides students with an understanding and skills in photography and image editing in graphic design
through screen display. Students explore basic photography skills in terms of techniques, methods and concepts of
producing graphic artwork. Students are given exposure to the publication of e-books aimed at documenting works in
addition to sketches in the folio.
www.ums.edu.my/astif +6088-320000 [email protected]
Reference
Pariah S. Burke. 2015. The Business of ePublishing 2015. CreateSpace Independent Publishing Platform; 1 edition. The
Photoshop Elements 2020 Book for Digital Photographers. 2020. Pearson Education. DK. 2016. Digital Photography
Complete Course : Learn Everything You Need to Know in 20 Weeks. DK Publishing Dorling Kindersley. Chris Gatcum.
2016. The Beginner's Photography Guide: The Ultimate Step-By-Step Manual for Getting the Most from Your Digital
Camera. DK Publishing Dorling Kindersley. Arntson, A.E. 1998. Graphic Design Basic. USA: Harcourt Brace College Pub.
Cotton, Bob. 1993. Understanding Hypermedia – From Multimedia to Vitural. Reality. London: Phaidon Press Ltd. Naisbitt,
John. 1999. High Tech High Touch. London: Nicholas Brealy Publishing House Lmt. Popper, Frank. 1993. Art in the
Electronic Age, Thames & Hudson. Ltd. London Velthoven, William. 1996. Multi-Media Graphics. London: Thame &
Hudson Ltd.
CV10802 CONCEPT AND CONTEXT IN DRAWING
This course trains students' visual observations contextually and textually from an object. Image observation from visible
space is processed directly through the retina of the eye which stimulates the mind to interpret critically. Digestion of
this image is then translated onto the surface of the paper. The production of sequential image translation through
analytical observation process can explain the concept of drawing / sketch that meets the objectives of the Artistic
Process. At the end of the course, students can fully translate the sketch of the artistic process as a result of critical
observation of the object / subject in focus.
Reference
Bruce, V. & R.Green, P. 1992. Visual Perception, Physiology, Psychlogy and Ecology (2ed.).United Kingdom: Lawrence
Erlbaum Associates Ltd. Dondis, D.A., (1995). A Primer of Visual Literacy (14th. edit). USA: MIT Press.Mannoni, L.,
Nekes, W. & Warner, M. (eds). 2004. Eyes, Lies and Illusions. The Art of Deception. Ashgate Publishing Limited.Pye, M.
(1987).Jil, Helen., (2017). Collactive and Collaborative Drawing in Contemporary practice: Drawing Conversations. New
Castle Upon Tyne, United Kingdom: Cambridge Scholars Publishing. Whose Art Is It Anyway?. New York:
Connoisseur.Zelansky,P & Pat Fisher, M. (2002). The Art of Seeing (5th ed). New Jersey: Prentice Hall.
www.ums.edu.my/astif +6088-320000 [email protected]
CV22802 PAINTING
This course exposes students to techniques and media in the production of paintings. Students are exposed to the
process, concepts and flow of paintings. Students will also study colors, study the effects of light on surfaces, perform
color mixing experiments and find new techniques. Students experiment with mediums that becomes the media in
paintings such as watercolors, oil paints, acrylics, poster paints, tempera paints and mixed media. At the end of the
course, students will produce works that fulfill the concepts and disciplines in the production of paintings.
Reference
Dondis, D.A., 1995. A Primer of Visual Literacy (14th. edit). USA: MIT Press. Hunter, S. & Jacobus, J. 1992. Modern Art.
USA: Prentice Hall Lester, P.M. 1995. Visual Communication: Images With Messages. USA: Wadsworth Publishing
Company. Rosalind Kagen, 2000. Art Talk, McGraw-Hill Smolucha. L. 1996.The Visual Art Companion. New Jersey Prentice
Hall. Powell, W.F. 2020. Drawing Landscapes: Learn to draw Outdoor Scenes Step by Step. Walter Foster Publishing
CV21302 BASIC 2D ANIMATION
This course exposes students to the basics in the production of two-dimensional (2D) animation works. This course
focuses on the elements and principles of animation such as 12 principles of animation, character formation, movement
and time. Students are also exposed to the stages of the animation production process which are pre-production,
production and post-production. This course also touches on the introduction to the types of animation including
computer animation that is suitable for the current industry.
Reference
Alan Cholodenko. 1993. The Illusion Of Life: Essays on Animation, Bloomington, IN:Indiana UP. Paul Wells. 1988.
Understanding Animation, New York.Popper, Frank. 1993. Art in the Electronic Age. Thames & Hudson, Ltd. London
Robert Russett and Cecile Starr. 1988. Experimental Animation: Origins of a New Art, New York: Da Capo.
Pooper, Frank.2006. Art in the Electronic Age :Second Edition. London : Thames & Hudson Ltd.Wells & Moore.
2016. The Fundamental of Animation. New York: Blommsburry Publishing Inc. Herhuth, Eric. 2017. Pixar and the
Aesthetic Imagination; Animation, Storytelling, and Digital Culture. California: University of California Press
www.ums.edu.my/astif +6088-320000 [email protected]
CV22902 DRAWING
This course exposes students to the techniques and media in the production of paintings. Students are exposed to the
process, concept and genre paintings artwork. Students will also study color, studying the effects of light on the surface,
mixing colors to experiment and find new techniques. Students experiment with the medium as a media in paintings
such as watercolor, oil, acrylic, poster paints, tempera paint and mixed media. At the end of the course students will
produce works that meet the concepts and disciplines in the production of paintings.
Reference
Betti, C., & Sale, T. 1997. Drawing A Contemporary Approach. USA: Harcourt Brace College Pub. Bowen, R. 1992.
Drawing Master Class. London: Leopard Books Dodson, B. 1995. Key to Drawing. Cincinnati, Ohio: North Light Books.
Mataznan. S. 1995. Drawing Nature. Cincinnati, Ohio: North Light Books. Turner, J.R 1995. Drawing with Confidence.
New York: Van Norstrand Reinhold. Powell, W.F. 2020. Drawing Landscapes: Learn to draw Outdoor Scenes Step by
Step. Walter Foster Publishing
CV21702 EXPLORATION OF INDIGENOUS ART
This course emphasizes on qualitative research methods in the field in relation to the traditional arts that are still practiced
by the Sabah Indigenous community. Students are exposed to the discipline and procedures to obtain current information
in the field and then report their findings. Direct observation is implemented in craft production traditional handicrafts
such as traditional wood carving, traditional costume making, production of traditional coloring materials, and other
related artistic aspects. Research conducted in groups outside the campus area and focuses on a particular place and
tribe. The findings will be presented through a symposium, colloquium or forum.
Reference
Elizabeth & Alman. (1963). Handcraft in North Borneo. Jesselton: Sabah Publishing House. Ismail Ibrahim, etal. (2013).
Warisan Seni dan Budaya Masyarakat Kepulauan Pesisir Sabah. Kota Kinabalu:Universiti Malaysia Sabah. Ismail Ibrahim.
(2007). Motif dan Corak Etnik Sabah. Kota Kinabalu: Universiti Malaysia Sabah. Mohamad Najib Abdul Ghafar. (1999).
Penyelidikan Pendidikan. Johor Bahru: Universiti Teknologi Malaysia. Whitehead, J. (1991). Exploration of Mount
www.ums.edu.my/astif +6088-320000 [email protected]
Kinabalu. North Borneo. Kota Kinabalu: Yayasan Sabah.Carole Gray, Julian Malins. 2016. Visualizing Research: A Guide
to the Research Process in Art and Design. Norfolk, UK: Routledge.
CV21902 DIGITAL AUDIO VIDEO PRODUCTION I
This course provides students with an understanding and skills on the basics of digital audio and video in the film,
television, animation industries. Technical skills of cameras, storyboards, computer hardware, audio software and video
editing. Students are trained in the production of professional audio and video ideas.
Reference
Wallace Jackson. 2015. Android Studio New Media Fundamentals: Content Production of Digital Audio/Video, Illustration
and 3D Animation. aPress. Terry T. Gisna. 2018. How to Create Information Products 101: Beginners Quick Guide to
Creating Video Courses, Audios, and eBooks in Digital Format That Can Make You $10 to 1,000+ Per Sale. Independently
Published. ISBN10 1728744687. ISBN13 9781728744681. Alex Anderson. 2015. Create Video/Audio on Your Product:
Facilities of Making Video/Audio on Product. Createspace. ISBN10 1505942837. ISBN13 9781505942835. Cleve, Bastian.
2005. Film Production Management, 3rd ed. Focal Press.James, Jack. 2006. Digital intermediates for film and video. USA:
Focal Press.Lyver, Des & Swainson, Graham. 2002. Basics of Video Production, 2nd ed. Focal Press.Whitaker, Jerry. 2002.
Master Handbook of Video Production. McGraw-Hill Professional.
CV21002 GALLERY AND EXHIBITION MANAGEMENTS
This course aims to expose students to professional gallery and exhibition management skills. Students understand the
context of galleries and operate effective management planning, acquisition and preservation of the art infrastructure.
In addition, the opportunity to do practical training related to staging planning and exhibition projects in groups. At the
end of the course students will hold a session of criticism and appreciation.
Reference
Bellman, W.F. 1974. Lighting the Stage: Art and Practice. New York: Crowell.Blau, H. 1992. To All Appearance : Ideologi
and Performance. USA: Rouledge & Kegan Paul.Hartley, John. 2005. Creative Industries (edit). Brisbane, Australia:
Blackwell Publishers.Robertson. 2005. Understanding International Art Markets And Management. London: Routledge
www.ums.edu.my/astif +6088-320000 [email protected]
Lorenc.Cher Krause Khight, Harriet F. Senis., (2018). Museums and Public Art?. New Castle Upon Tyne, United Kingdom:
Cambridge Scholars Publishing.
CV21202 BASIC 3D ANIMATION
This course touches on the basic concepts of model construction in 3D animation as a whole. It explains how 3D models
in animation are built, types, and ways of applying mesh models, materials, lighting, texture mapping, rendering methods,
cloth, hair, and special effects. This course introduces the basics of 3D model making before students produce a final
project. The platform used for the production of 3D animated models is Macintosh or PC Platform, in addition to the use
of open-source software: Blender, and the introduction to Maya and 3D Studio Max.
Reference
Allan Cholondenko. (2002). The Illusion of Life: Essay of Animation, Second Edition. Bloominton, IN:Indianan UP. Paul
Wells. (1998). Understanding Animation, New York. Baechler, O., & Greer, X. (2020). Blender 3D By Example: A project-
based guide to learning the latest Blender 3D, EEVEE rendering engine, and Grease Pencil, 2nd Edition. Packt Publishing.
Brito, A. (2019). Blender 2.8: The beginner’s guide. Independently published. Legaspi, C. (2015). Anatomy for 3D Artists:
The Essential Guide for CG Professionals (3dtotal Publishing, Ed.). 3DTotal Publishing. Valenza, E. (2015). Blender 3D
Cookbook: Build your very own stunning characters in Blender from scratch. Packt Publishing. Villar, O. (2014). Learning
Blender: A Hands-On Guide to Creating 3D Animated Characters (1 edition). Addison-Wesley Professional.
CV21402 BASIC ADVERTISING
This course introduces the basics of advertising and advertising art design. It emphasizes the principles, concepts of
advertising, definition, organization within the agency, analyzing the strategy of an advertisement in a contemporary and
digital tradition. Students will be exposed to the history, figures and case studies of previous advertising. Students are
also introduced to the types of advertising such as promotion advertisements, service advertisements (PSA) and
corporate advertisements. In terms of skills, students will conduct filming sessions to succeed a commercial TV
commercial, corporate advertisement or service advertisement.
www.ums.edu.my/astif +6088-320000 [email protected]
Reference
Anholt, S. (2003). Brand New Justice: The Upside of Global Branding. Oxford, Boston: Butterworth-Heinemann.Belch,
G.E. & Belch, M. (2001). Advertising and Promotions. Boston: McGraw-Hill Himpe, T. (2008 ). Advertising Next. San
Francisco, California: Chronicle Books.O’ Guinn, T.C., Chris, T.A. & Semenik, R.J. (2003). Advertising & Integrated Brand
Promotion. 3rd ed. Australia: Thomson South-Western. Zimmerman, J. (2003). Marketing On the Internet: Your Seven-
Step Plan for Succeeding in E-Business. Now That the Hype Is Over. New York: Gulf Breeze Maximum Press. David
Ogilvy, (2013) Ogilvy on Advertising. Knopf Doubleday Publishing Group: Shelly Rodgers, Esther Thorson. (2017) Digital
Advertising. Routledge.
CV34103 COLLABORATIVE PROJECT
This course emphasizes on students about generating personal ideas and concepts, innovative exploration and new
discoveries. Students are also required to produce collaborative project papers and are encouraged to seek guidance
from their respective supervisors. This course is the initial stage of MATRIX project production. Students will produce
projects of their choice based on previously mastered courses. Students will experiment, research and generate ideas by
implementing elements of IT and multimedia skills. At the end of the course, students will produce a work proposal
(mock up). Recommendations for this work will be extended to the CT30406 Final Project course as a final project.
Reference
Burstein D. & Stasiowski F. 1992. Project Management For The Design Professional.Whitney Library of Design London.
Martha Metzdorf. 1990. The Ultimate Porfolio, Cincinnati, Ohio, USA. Nikos Stangos. 1993. Concepts of Modern Art: From
Fauvism to Postmodernism, Thames & Hudson Ltd London. Paula Sher. 1992. The Graphic Design Porfolio, Watson
Guptill Publication, New York. Veronica Napoles. 1993. Product Design and Corporate Strategy, McGraw-Hill Inc. USA.
CV21602 BATIK
This course provides exposure on design of textile technology specific to batik art. Students study and research R&D on
the motives, techniques and processes of producing printed batik and batik canting. Understanding their patterns from
a variety of motives by paying attention to functions, cultural values and finishing. Learning knowing tools and materials
and getting to know some of the leading figures in textile craft.
www.ums.edu.my/astif +6088-320000 [email protected]
Reference
Ball, Kazz and Janitch, Valerie. 1994. Hand Painted Textiles For The Home. Singapore: Saik Wah Press Pte. Ltd.Noor
Azlina Yunus. 2012. Malaysian Batik: Reinventing a Tradition. North Clarendon, Vermont: Tuttle Publishing.Siti Zainon
Ismail. 1994. Malay Woven Textiles. Malaysia: Dewan Bahasa dan Pustaka.Philips, Peter and Bunce, Gillian. 1993. Repeat
Patterns A Manual Designers Artists & Architects. London: Thames & Hudson Ltd. Venables, Jane. 1994. The Silk Painting
Workshop, Painting, Marbling & Batik For Beginners. Italy: David & Charles Ltd. Lizzie King. 2017. Tie & Dye: Colourful
clothing, gifts and decorations. London: Pavilion Books.
CV22002 GRAPHIC ILLUSTRATION
This course provides students with the understanding and skills of digital graphic illustration concepts. This course
introduces illustrations, types, functions of illustrative images in a work. Students are introduced to the characteristics
and principles of illustration to produce a digital illustration work based on the concept of discipline in the industrial sector
such as automobile illustration, fashion, cartoons, characters and medicine. Students are exposed to the skills of using
computer software and digital computer production techniques to equip students with skills in line with current industry
needs.
Reference
Male, A. (2019). Companion to Illustration: Art and Theory. John Wiley & Sons, Inc, Embury, G & Minichiello, M. (2018).
Reportage Illustration : Visual Journalism. London : Bloomsbury Publishing.Inc, Zeegen, L (2010). Complete Digital
Illustration: A Master Class in Image-Making, RotoVision SA, Zeegen, L (2009). What Is Illustration?, RotoVision SA,
DiMarco, J. (2010). Digital Design for Print and Web: An Introduction to Theory, Principles, and Techniques. John Wiley
& Sons, Inc, Armstrong, H. (2016). Digital Design Theory: Readings from the Field, New York: Princeton Architectural
Press, Lupton, E & Philips, J.(2008). Graphic Design: The New Basics, 2nd Edition, New York: Princeton Architectural
Press.
CV22302 ARTS HISTORY & AESTHETIC II
This course provides the theoretical knowledge in relation to the historical development of the painting in Malaya began
in the 1930s to the post-Merdeka and Sabah developments in painting began in the 1940s to the present. The style of
presentation of each era is revealed through examples of works in the form of paintings, art prints and sculptures.
www.ums.edu.my/astif +6088-320000 [email protected]
Reference
Ahmad Rashidi Hasan. (2001). Sejarah Seni Lukis. Shah Alam: Karisma Publications. Galeri Petronas. (2016). Young
Malaysian Artists : New Object (ION 111). Kuala Lumpur : Institut Terjemahan & Buku Malaysia. Ismail Ibrahim.
(2005). Sejarah Perkembangan Senilukis Sabah. Kota Kinabalu: Universiti Malaysia Sabah. Muliyadi Mahamood. (2001).
Senilukis Moden Malaysia. Kuala Lumpur: Utusan Publication & Distributor Sdn Bhd. Redza Piyadasa. (2001). Rupa
Malaysia: Meninjau Seni Lukis Moden Malaysia. Kuala Lumpur: Balai Seni Lukis Negara. Muliyadi Mahamood. (2007).
Modern Malaysian Art: From The Pioneering Era To The Plurlist Era. Kuala Lumpur: Utusan Publication & Distributor Sdn
Bhd.
CV22902 CERAMIC
This course aims to provide students with fundamental knowledge of hand-construction techniques to work with clay.
On the course, student should learn techniques such as slab construction, pinching, and coiled clay to 3 dimension (3D)
shape or sculptural works of art. Student will discover communities and artists that used specific techniques. Student
can also work with a range of decorative techniques to incorporate texture and/or written imagery; use colored slips and
glazes.
Reference
George Savage, Harold Newman, 1999. An Illustrated Dictionary of Ceramics, Thames & Hudson Jenny Rodwell.
Voyageur Press.
Jacqui Atkin, 2013. Handbuilt Pottery Techniques Revealed: The Secrets of Handbuilding Shown in Unique Cutaway
Photography, B.E.S.; 2 edition John Gale, 2001. Pottery- Teach Yourself, Mc Graw-Hill. Neal French. Kathy Triplett, 2001.
Handbuilt Tableware: Making Distinctive Plates, Bowls, Mugs, Teapots and More: (A Lark Ceramics Book) Lark Books;
First Edition. Susan Halls, 2014. Pinch Pottery: Functional, Modern Handbuilding, Lark Crafts. Sunshine Cobb, 2018.
Mastering Hand Building: Techniques, Tips, and Tricks for Slabs, Coils, and More (Mastering Ceramics)
CV33502 WEB INTERACTIVE
This course discusses the basic concepts, principles and techniques of website development. This course is important
because it provides understanding and skills to students about designing websites using multimedia authoring software,
www.ums.edu.my/astif +6088-320000 [email protected]
programming languages, upload results online on the web site as well as training students to produce ideas and skills in
an interactive website.
Reference
Shelly, G., Napler, H. & Rivers, O. (2009). Web Design: Introductory Concepts and Techniques. 3rd edition, Boston:
Course Technology, Cengage Learning. Shelly, G & Campbell, J. (2012). Web Design: Introductory, 4th Edition, Boston:
Course Technology, Cengage Learning. Beaird, J & George, J. (2014). The Principles of Beautiful Web Design. 3rd
Edition. SitePoint Pty. Ltd. Ford, R. & Wiedermann, J. (2019). Web Design. The Evolution of the Digital World 1990-
Today. Taschen GmbH. McIntire, P. (2008). Visual Design for the Modern Web. Pearson Education. Scott, B & Neil, T.
(2009). Designing Web Interfaces: Principles and Patterns. O’Reilly Media Inc. DeFeterici, G. (2012). The Web Designer's
Roadmap. SitePoint Pty. Ltd.
CV33902 CERAMIC TECHNOLOGY
The course gives students basic an understanding of the relationship between ceramic material concepts and the use of
these materials in pottery designs and applications. The course will also describe the interaction between the
manufacturing process and the selection of materials and the need for a collaborative approach to works of art.
Reference
Jacqui Atkin, 2017. Beginner's Guide to Pottery & Ceramics: Everything you need to know to start making beautiful
ceramics. Search Press Judith S. Schwartz, 2008. Confrontational Ceramics. A & C Black Publishers Ltd Marylin Scott,
2006. Potter's Bible: An Essential Illustrated Reference for both Beginner and Advanced Potters (Artist/Craft Bible Series)
Chartwell Books Peter Cosentino, 2018. The Encyclopedia of Pottery Techniques: A unique visual directory of pottery
techniques, with guidance on how to use them Search Press; Reprint edition Tom Morris, 2018. New Wave Clay: Ceramic
Design, Art and Architecture. Frame Publishers
www.ums.edu.my/astif +6088-320000 [email protected]
CV32102 DIGITAL AUDIO VIDEO PRODUCTION II
This course introduces students' principles and practices on advanced digital video audio and trains students to develop
ideas and skills in producing professional audio and video. The production of short films, documentaries, animations and
other multimedia designs is the focus in providing skills to students.
Reference
Scorpio Digital Press. 2020. Independent Production House Startup Guide : How to Make Audio, Video, Movie and
Advertisement - Advertising Industry I Film Production Technique - Entertainment and Promotion. Independently
Published. Emergent Learning. 2017. Learning Audio and Video Production Student Edition -- VitalSource eText –
National. Pearson. Jim Foust, Edward J. Fink, Lynne Gross. 2017. Video Production: Disciplines and Techniques.
Routledge. Harry C. Box. 2020. Set Lighting Technician’s handbook: Film Lighting Equipment, Practice, and Electrical
Distribution. Taylor & Francis Ltd. Bruce Bennett, Marc Furstenau & Adrian Mackenzie. 2008. Cinema and Technology,
Cultures, Theories, Practices. Palgrave Macmillan Blain Brown. Cinematography, Theory & Practice, Image Making for
Cinematographers, Directors, and Videographers. Focal Press. Ettedgui, Peter. Cinematography: Screencraft. 2000. Focal
Press.Jones, et. Al. Film into Video. 2000. Focal Press. Louis Giannetti. Understanding Movies, 9th Edition. 2002. Prentice
Hall.
CV33702 2D ANIMATION
The 2D Animation Course is an extension of the Basic 2D Animation course (CV21302). This course touches on the
concept of 2D animation as a whole and explains the process of generating 2D animation, the types and applications of
the process of animation production in depth. This course is thoroughly explained before students produce the final
project. The platform used for 2D animation production is 2D computerized animation software.
Reference
Alan Cholodenko. 1993. The Illusion Of Life: Essays on Animation, Bloomington, IN:Indiana UP. Paul Wells. 1988.
Understanding Animation, New York.Popper, Frank. 1993. Art in the Electronic Age. Thames & Hudson, Ltd. London
Robert Russett and Cecile Starr. 1988. Experimental Animation: Origins of a New Art, New York: Da Capo. Pooper,
Frank.2006. Art in the Electronic Age:Second Edition. London : Thames & Hudson Ltd.Wells & Moore. 2016. The
www.ums.edu.my/astif +6088-320000 [email protected]
Fundamental of Animation. New York: Blommsburry Publishing Inc. Herhuth, Eric. 2017. Pixar and the Aesthetic
Imagination; Animation, Storytelling, and Digital Culture. California: University of California Press
CV33302 ANIMASI 3D
The 2D Animation Course is an extension of the Basic 2D Animation course (CV21302). This course touches on the
concept of 2D animation as a whole and explains the process of generating 2D animation, the types and applications of
the process of animation production in depth. This course is thoroughly explained before students produce the final
project. The platform used for 2D animation production is 2D computerized animation software.
Reference
Alan Cholodenko. 1993. The Illusion Of Life: Essays on Animation, Bloomington, IN:Indiana UP. Paul Wells. 1988.
Understanding Animation, New York.Popper, Frank. 1993. Art in the Electronic Age. Thames & Hudson, Ltd. London
Robert Russett and Cecile Starr. 1988. Experimental Animation: Origins of a New Art, New York: Da Capo. Pooper,
Frank.2006. Art in the Electronic Age:Second Edition. London : Thames & Hudson Ltd.Wells & Moore. 2016. The
Fundamental of Animation. New York: Blommsburry Publishing Inc. Herhuth, Eric. 2017. Pixar and the Aesthetic
Imagination; Animation, Storytelling, and Digital Culture. California: University of California Press
CV33302 3D ANIMATION
The 3D Animation Course is an extension of the 3D Animation Basic Course (CV21202). This course touches on the
concept of 3D animation as a whole and explains how 3D animation is produced, the types, and ways to apply the 3D
animation production process in depth. Among the techniques touched on are Key Framing, Rigging, Posing, rigid body
dynamics, Path animation, motion capture, particle system, fluid animation, deformation, hair, cloth, and soft bodies.
Students will use open-source software: Blender, in addition to introductions to MAYA and 3D Studio Max. This course is
thoroughly explained before students produce the final project.
Reference
Baechler, O., & Greer, X. (2020). Blender 3D By Example: A project-based guide to learning the latest Blender 3D, EEVEE
rendering engine, and Grease Pencil, 2nd Edition. Packt Publishing. Brito, A. (2019). Blender 2.8: The beginner’s guide.
www.ums.edu.my/astif +6088-320000 [email protected]
Independently published. Legaspi, C. (2015). Anatomy for 3D Artists: The Essential Guide for CG Professionals (3dtotal
Publishing, Ed.). 3DTotal Publishing. Valenza, E. (2015). Blender 3D Cookbook: Build your very own stunning characters
in Blender from scratch. Packt Publishing.Villar, O. (2014). Learning Blender: A Hands-On Guide to Creating 3D Animated
Characters (1 edition). Addison-Wesley Professional.
CV32503 BORNEO ETHNICS ARTS ANALYSIS
This course gives exposure to several aspects of arts among ethnics inhabiting the Borneo Archipelago, especially in
Sabah. Students are required to identify and scrutinize on issues related to traditional objects and cultures within Borneo
for research materials. Subsequently, the students are to analyze the concepts and creation techniques; influences of
motives and materials; decorative elements; and design concepts in the context of contemporary and traditional. At the
end of the course, students would be able to successfully synthesize the research by expressing it through visual
communication posters.
Reference
Elizabeth & Alman. (1963). Handcraft in North Borneo. Jesselton: Sabah Publishing House.Harrisson, Tom & Harrisson,
B.(1969-1970). “The Prehistory of Sabah.” Sabah Society Journal. Vol.4 .Ismail Ibrahim. (2013). Warisan Motif dan
Corak Etnik MURUT (2ed). Kota Kinabalu : Universiti Malaysia Sabah. Whitehead, J. (1991). Exploration of Mount
Kinabalu. North Borneo. Kota Kinabalu: Yayasan Sabah.Roth, Henry Ling. (1968). The Natives of Sarawak and British
North Borneo Vol.(I),(II). Singapore: University of Malaya. Carole Gray, Julian Malins. 2016. Visualizing Research: A
Guide to the Research Process in Art and Design. Norfolk, UK: Routledge.
CV34503 COMPOSITION TECHNOLOGY
This course prepares students to understand the basics of composition technology through the use of computer and VFX
software used by film companies and home studios. This course introduces students to the arts and sciences in composite
visual effects for digital filmmaking. Topics to be studied include visual effects workflow, imaging technology, green
screen, image processing, matte production, and tracking. Also, students will learn the production of composition
technology (practical) with computer software ranging from recording, mixing, use of effects, and mastering. Through
this course, students present their work either individually or in groups.
www.ums.edu.my/astif +6088-320000 [email protected]
Reference
Lanier, L. (2015). Compositing Visual Effects in After Effects: Essential Techniques (1 edition). Routledge. Meyer, C., &
Meyer, T. (2010). Creating Motion Graphics with After Effects: Essential and Advanced Techniques, 5th Edition, Version
CS5 (5 edition). Routledge. Vepakomma, M. (2014). Blender Compositing and Post Processing. Packt Publishing. Wright,
S. (2010). Digital Compositing for Film and Video, Third Edition (3 edition). Focal Press. Wright, S. (2017). Digital
Compositing for Film and Video: Production Workflows and Techniques (4 edition). Routledge.