audio production

Programme Information

Duration: 3 Years

Award: Diploma in Audio Production

The Diploma in Audio Production at LASALLE is a practice-based programme that prepares you for entry into the exciting and fast-paced audio production industry in Singapore and abroad. You will focus on all aspects of music production involving the recording studio and sound reinforcement disciplines, including large-scale theatre and multimedia productions.

Through a progressive structure of modules and assessments, you are taken step by step through the fundamentals of audio technologies and working methodologies of audio production. Working closely with LASALLE’s Performing Arts students in a hands-on, project-based programme, you will learn and hone the necessary skills for professional placement in this exciting and dynamic industry. Top local and international practitioners provide knowledge and experience as you gain confidence to take on industry-level projects in a limited amount of time. Upon completion, you will graduate with the necessary skill set to undertake a vocation in audio production.

Assessments: Assessment is an integral part of the learning process, and will be formative and diagnostic as well as summative and evaluative, providing feedback to students wherever appropriate. Read more about assessments here.

Placement learning is where students are offered opportunities to experience learning outside the classroom in real-life working environments or in approved partner institutions. Read more about placement learning here.

Modules

Level 1

Audio Production 1

• Audio Engineering 1 – introduces the vernacular, core technologies, and working methodologies of studio recording. You will look at the function of individual pieces of equipment.
• Software Workshop – provides an intensive exploration of recording software that is an integral part of the recording studio.
• Sound Reinforcement 1 – introduces you to the equipment and working methodologies required for live sound reinforcement. The differences and similarities of studio and live performance audio production are explored, enabling you to develop skills transferable to both circumstances.
• Professional and Personal Development – is a component in all modules and at all level. You will develop professional attributes, behaviour, and discipline including attendance, punctuality, preparation, application, group cooperation, contribution, and communication.

Music Skills 1

• Music Theory – ensures a sound understanding of the basic concepts of notation in music in music through the study and analysis of melody, harmony, rhythm, construction of scales, chords, song form, and the basic chord progressions used in everyday pop music and simple jazz styles.
• Aural Skills – introduces you to techniques and methods that enable you to recognise, analyse, and notate music by ear through the system of solfege.
• Keyboard Skills – allows you to gain a basic understanding of the keyboard through the study of major/minor scales, melodic harmonisation, transposition, score-reading, and improvisation on diatonic chords in contemporary popular and jazz styles.

Performance Studies This contextual module orientates you in the sphere of artistic aesthetics, creative rationale and performance history. Components in this module include:

• Arts History – gives you an overview of influential artistic developments in the performing and fine arts arena. Significant historical works and movements in dance, music and theatre, in both Western and Asian traditions are introduced in relation to key concepts and theories of international art and performance practices.
• History of Audio Production – provides the historical context for the working methodologies and technologies of the audio production industry.
• Writing and Research Skills – introduces you to the skills and process of writing an organised research paper. You learn to articulate thoughts and analysis through writing, which prepares you for other contextual studies throughout diploma year.

Sound Reinforcement Practicum 1

• Production Attachments – introduces you to the allied infrastructure of Performance through empirical backstage training to foster and advance critical enthusiasms in key areas of productions. The component also focuses on the importance of collaboration, communication, and the creative research that binds the various elements of the curriculum.
• Performance Projects – includes stylistic intensives e.g. Gamelan Ensemble and a Variety project which provide opportunities for individual development with contemporary performances, thus fostering eclecticism.
• Technical and Production Management – applies techniques and skills in diverse aspects of theatre management and technology: Stage Production and Management, Lighting, Sound and Stage Design, including Space, Stage and Mechanisms.
• Blog – You will keep a logbook in the form of a web-based blog detailing your experiences working collaboratively with other faculties in the Performance Projects component.

Level 2

Audio Production 2

• Audio Engineering 2 – continues with a higher emphasis on project-based learning; you work closely with musicians and performers to realise studio recording and mixing project. You are now required to implement the fundamental concepts of Audio Engineering 1 in a personalised work method for recording studio applications.
• Sound Reinforcement 2 – requires you to reflect upon the underlying nature of sound and music and to articulate and communicate nuanced qualities of live sound reinforcement in collaborations with musicians, artists, producers, and directors in order to provide artistically appropriate results for live performance.

Audio Technologies

• Digital Audio Production – gives you a detailed look at core technologies and tools in digital audio. The in-depth view of digital audio processing and MIDI implementations provides you with the underlying technical knowledge to approach any digital audio workstation to troubleshoot issues and implement complex workflows appropriate to the task at hand.
• Technical Drawing – provides the basic skills and knowledge of computer-aided design. You apply these skills to the conception and execution of technical drawing for theatre productions, illustrating stage layout, technical requirements, and PA system location, with additional reinforcement of health and safety regulations in live performance productions.
• Electrical Circuits and Equipment Maintenance – explores a detailed analysis of audio electronics, such as amplifier, loudspeaker, and microphone construction. An overview of electrical circuits introduces you to the application of audio equipment design and maintenance.

Sound Design and Acoustics

• Acoustics – continues with the analysis and reflection of underlying concepts explored in Audio Technologies and you are required to apply this knowledge to various acoustics environments and provide technical and artistic solutions to sound system design and implementation.
• Sound Design for Theatre – provides you with a basic understanding of sound design and script analysis in order to design idiomatic sound effects and respond to performance cues accurately.

Sound Reinforcement Practicum 2

• Sounds Reinforcement Practicum 2 – begins your journey into practical, faculty-directed projects and allows you to engage in hands-on, instructor-led projects for music and theatre performances. You are expected to implement a basic knowledge of the workflow and equipment checklist for sound reinforcement of live performances.
• Blog – requires you to keep a logbook in the form of a web-based blog detailing collaborative projects. You must reflect upon your developing working methodologies and consider the ramifications of your contributions to the overall success of a collaborative project. Additionally, you must keep abreast of current trends in technologies and working methodologies by researching current trade publications.

Level 3

Audio Production 3

• Audio Engineering 3 – requires you to become fully independent to conceive, implement, and successfully complete post-production, recording and mastering projects. Through collaborations, student-led recording and post-production projects, showcase your ability to work in a dynamic field as a team leader, as well as an integral part of a group. It also includes a detailed exploration of sound design for film and video such as ADR, Foley, synchronous sound and asynchronous sound.
• Sound Reinforcement 3 – focuses on larger project management for live performance. You are required to work independently, as well as part of a team on large-scale projects, and must undertake leadership roles in order to ensure project completion and artistic realisation.

Advanced Audio Systems Design

• Audio Systems Design and Implementation – advances your technical knowledge in audio system design, by integrating audio technologies and the needs of corporate AV, as well as large multimedia performances.
• Computer Systems and Networking – provides an in-depth look at basic computer repair, maintenance, and networking topologies involving networked audio systems design for artistic and commercial use.
• Final Project Presentation and Folio – requires you to complete a large-scale AV networking solution for a hypothetical corporation or performance venue, taking into account concepts learned in previous modules, such as acoustics, electrical systems, technical drawings, fire and safety regulations, computer networking, applicable building codes, budgeting, quality control, and testing and commissioning.

Music Entrepreneurship
Through this module, you will be taught the basic principle of entrepreneurship in the music industry. Some of the skill sets covered include developing interpersonal skills, leadership and organisational skills, knowledge of marketing, publicity, product, professionalism, presentation, and networking.

Sound Reinforcement Practicum 3
In this module, you will continue working on live performance projects but are required to work more independently and efficiently.

• Blog – requires you to keep a logbook in the form of a web-based blog detailing your experiences working collaboratively with other faculties in various collaborative projects. It should reflect upon your established working methodologies and consider the ramifications of your contributions to the overall success of a collaborative project, examining if there is area for improvement.
• Industry Placement – requires you to undertake an industry placement in the form of an attachment to a practitioner or a venue or company. Through the placement, you should demonstrate professional qualities and transferable skills necessary for employment: the exercise of initiative and personal responsibility; decision-making in complex and unpredictable contexts; and the learning ability needed to undertake further training in specialised or related fields.

Faculty Members

Head, School of Contemporary Music
Timothy O'Dwyer

Timothy O'Dwyer, is a saxophonist, composer, educator and the current Head of the School of Contemporary Music at LASALLE. Trained as a jazz musician at the Victorian College of the Arts graduating with a BA Music in 1993 he furthered his studies in 1995 with contemporary classical composer Richard Barrett in Amsterdam and visionary saxophonist/ improviser Evan Parker in London. He was a founding member of the seminal punk-jazz group bucketrider from Melbourne (1992) and has been a member of the Elision Contemporary Ensemble since 1994 with which he has performed and composed works that have premiered at arts festivals throughout Australia, Europe and Japan including the 2009 Huddersfield Contemporary Music Festival. He formed the Tim O'Dwyer Trio in 2005, and with them has performed at important jazz festivals in Australia, South East Asia, Japan and Europe including the 2010 Montreux Jazz Festival. Timothy has been involved in over 30 cd releases 13 of which have featured his own compositions. He is currently a PhD candidate at Queensland University of Technology, Australia, researching the nexus between improvisation and composition.

Lecturer, Popular Music
Darren Moore

Darren Moore is a drummer, composer and electronic musician born in Edinburgh, Scotland. Having lived his formative years in Perth, Australia, he graduated from the Western Australian Conservation at Edith Cowan University with a Bachelor in Music (Jazz Performance) in 1997. He has since lived and worked professionally as a musician in Perth, London, Melbourne, Sydney and Singapore.

He is an active member of the Singapore musician scene and is regarded as one of the most creative voices in the scene, straddling jazz, experimental, popular, installation work and composing music for theatre and dance. He curates the CHOPPA experimental series and has recently released two solo albums on his own label, Caol Records. In addition, Darren tours internationally performing at major festivals and club circuits in Asia, Australia, Europe and the US. His most recent highlight was a performance with the Tim O' Dwyer Trio at the prestigious 2010 Montreaux Jazz Festival.

Darren has been a lecturer in Popular Music at LASALLE College of the Arts in Singapore since 2007. He is currently a Doctorate of Musical Arts candidate at Griffith University in Brisbane, Australia, his research looks at the adaptation of Carnatic Indian rhythms to the drum set.

Lecturer, Music Technology
Justin Hegburg

Having graduated with a Master of Music, Music Technology, New York University, New York, USA, Justin joined LASALLE College of the Arts in 2006. Working freelance and well-established studios in New York, Justin's audio production work can be heard on multiple commercial releases. With a Bachelor of Music Composition from The University of Miami, Coral Gables, Florida, his original music compositions have been performed in USA, Brazil, and Singapore. He received in Certificate in Audio Engineering from the Conservatory of Recording Arts and Science, in Tempe, Arizona, USA.

Lecturer, Music Technology
Brain O'Reilly

Brian O'Reilly works within the fields of electro-acoustic composition, moving images and noise music. Also he is a contrabassist focusing on uncovering the inaudible textures and hidden acoustic microsounds of his instrument through the integration of electronic treatments and extended playing techniques. He attended the School of the Art Institute of Chicago on a scholarship for sculpture during which time he perused independent studies in improvisation and composition with members of Chicago's AACM. After which he relocated to Paris to research the composition methods of the composer Iannis Xenakis, receiving a appointment as Musical Assistant at Xenakis' studio. He pursued graduate studies in Electronic Music at the University of California Santa Barbara's Media Arts and Technology program, where his collaborations with Curtis Roads began with the project "Point Line Cloud" which won an Award of Distinction at Ars Electronica in 2002. As Operations Manager of Recombinant Media Labs in San Francisco He worked on many project for the Asphodel record label & recording studio, and has received several international residencies/commissions including invitations to work as a guest artist at the Zentrum für Kunst und Medientechnologie (ZKM) in Germany, the SH Festival in Shanghai and All Tomorrow Parties festival curated by Autechre in the UK. He has worked on projects with Eliane Radigue, Luc Ferrari, Curtis Roads, Zbigniew Karkowski, Otomo Yoshihide, Matmos, Maryanne Amacher, Zeitkratzer, Christian Marclay, William Basinski, Fe-Mail, Yasunao Tone, Francisco López, Garth Knox, Steina and Woody Vasulka, amongst others. Currently He is performing audio and visuals solo and in the groups Iron Egg & Black Zenith, and is a lecturer at LASALLE's School of Contemporary Music.

Lecturer
Belinda Foo

Belinda Foo is a Composer, Arranger and Orchestrator. She is also a lecturer in the LASALLE College of the Arts where she teaches Aural, Theory and Pop Composition.

Belinda has been in the music industry for the last 25 years involved with arranging and writing commercial music as well as working as a pianist, music director for various performances and musicals.

Her first love is writing: she has written and orchestrated music for the Singapore and Hongkong Arts Festivals and the Singapore Symphony Orchestra.

She has also written original music for the musicals, "Darkest Before Dawn", "The Other Wiseman" and "The Three Trees". Her most recent project is "JEREMIAH", a Symphonic Poem. Currently, she is working on a Symphonic Dance, "JOB", which she hopes to complete this August.

"Let the beauty we love be what we do" (Rumi) is her guiding principle. She seeks to draw out beauty from and through her music, the musicians she works with and from her students.

Lecturer,
Frank DeMeglio

Frank DeMeglio is a classical music teacher, lecturer and writer. He has taught part-time at LASALLE since 2003 and joined the faculty in 2009. Of particular interest to Frank is the efficient technical approach to the keyboard that aligns with sound biomechanical principals, especially with respect of injury prevention and cure. He studied piano at the University of Michigan and earned a Bachelor degree in performance. After graduating, he taught with Randy and Nancy Faber, authors of the best-selling Piano Adventures library of piano books. He returned to the University of Michigan for an MBA in marketing in 1992, and was hired by Steinway & Sons as their New York Institutional Sales Representative. While working for Steinway & Sons, part of his duties included managing the famed Steinway Selection Room of concert and studio grand pianos. In 2000, Frank DeMeglio moved to Singapore where he wrote the classical music reviews for the Business Times from 2001 to 2004. He continues to guest review (most recently for the 2007 Singapore International Piano Festival) and his interviews of international pedagogues and performers appear in print and on the web. Frank's modest performing career included recitals in Spain and Japan, where he recorded a special-release CD in honor of the 15th anniversary of the UNESCO chapter of Narita City, Japan.

Entry Requirements

Academic Requirements

• Recognised Singapore qualification: Singapore-Cambridge GCE 'O' Level: 5 subjects (including English) at C6 higher, or recognised equivalent.
• Recognised international qualifications: Please click here to view list
• Two essays of about 200-250 word each. Questions to be determined later.
• Resume – including training and/or performance experiences (e.g. SYF etc)
• Two referees. One of who should be able to recommend your work.

audition & Interview Requirements

You are invited to a live audition on the basis of the prescreening recording and meeting the minimum academic requirements.

Prescreening Recording: You are required to submit a music DVD according to the audition requirements. You are expected to demonstrative a strong knowledge of the music you are presenting, as well as a clear vision of your own musical future.

Live Audition: If selected, you are required to attend a live audition with the School of Contemporary Music, LASALLE in May.

A generalist programme covering music and audio production for live performance and recorded music production, music theory and aural training that prepares students for entry into the music industry or further degree studies. Students from all music backgrounds can enter this programme with an audition demonstrates their previous experience in music and audio production.

You are required to attend an interview with an audition component to demonstrate your creative potential. You are expected to demonstrate experience in music and audio production by presenting two examples of your work via CD or DVD, as well as a clear vision for your own musical future. Examples of acceptable CD/DVD submissions are recordings of music productions, original compositions recorded and produced by you, or DVD video of a live performance where you were an integral part of a live sound reinforcement production.

Music Training Pre-requisites

Previous qualifications in Music Theory or Practical exams are preferred but not a requirement for entry into the Diploma programme. Students will be judged solely on their ability to perform during the audition and interview process.

Audition Requirements

• Theory / Aural / Academic: Complete a music theory, aural, and written test set by the School of Contemporary Music, LASALLE.
• Practical: Present 2 examples of work in music and audio production. Students must be prepared to discuss their role in the production and demonstrate an understanding of the technologies involved. (CD/DVD must be submitted to the audition panel)

Programme Information

Duration: 3 Years

Award: Diploma in Audio Production

The Diploma in Audio Production at LASALLE is a practice-based programme that prepares you for entry into the exciting and fast-paced audio production industry in Singapore and abroad. You will focus on all aspects of music production involving the recording studio and sound reinforcement disciplines, including large-scale theatre and multimedia productions.

Through a progressive structure of modules and assessments, you are taken step by step through the fundamentals of audio technologies and working methodologies of audio production. Working closely with LASALLE’s Performing Arts students in a hands-on, project-based programme, you will learn and hone the necessary skills for professional placement in this exciting and dynamic industry. Top local and international practitioners provide knowledge and experience as you gain confidence to take on industry-level projects in a limited amount of time. Upon completion, you will graduate with the necessary skill set to undertake a vocation in audio production.

Assessments: Assessment is an integral part of the learning process, and will be formative and diagnostic as well as summative and evaluative, providing feedback to students wherever appropriate. Read more about assessments here.

Placement learning is where students are offered opportunities to experience learning outside the classroom in real-life working environments or in approved partner institutions. Read more about placement learning here.

Modules

Level 1

Audio Production 1

• Audio Engineering 1 – introduces the vernacular, core technologies, and working methodologies of studio recording. You will look at the function of individual pieces of equipment.
• Software Workshop – provides an intensive exploration of recording software that is an integral part of the recording studio.
• Sound Reinforcement 1 – introduces you to the equipment and working methodologies required for live sound reinforcement. The differences and similarities of studio and live performance audio production are explored, enabling you to develop skills transferable to both circumstances.
• Professional and Personal Development – is a component in all modules and at all level. You will develop professional attributes, behaviour, and discipline including attendance, punctuality, preparation, application, group cooperation, contribution, and communication.

Music Skills 1

• Music Theory – ensures a sound understanding of the basic concepts of notation in music in music through the study and analysis of melody, harmony, rhythm, construction of scales, chords, song form, and the basic chord progressions used in everyday pop music and simple jazz styles.
• Aural Skills – introduces you to techniques and methods that enable you to recognise, analyse, and notate music by ear through the system of solfege.
• Keyboard Skills – allows you to gain a basic understanding of the keyboard through the study of major/minor scales, melodic harmonisation, transposition, score-reading, and improvisation on diatonic chords in contemporary popular and jazz styles.

Performance Studies
This contextual module orientates you in the sphere of artistic aesthetics, creative rationale and performance history. Components in this module include:

• Arts History – gives you an overview of influential artistic developments in the performing and fine arts arena. Significant historical works and movements in dance, music and theatre, in both Western and Asian traditions are introduced in relation to key concepts and theories of international art and performance practices.
• History of Audio Production – provides the historical context for the working methodologies and technologies of the audio production industry.
• Writing and Research Skills – introduces you to the skills and process of writing an organised research paper. You learn to articulate thoughts and analysis through writing, which prepares you for other contextual studies throughout diploma year.

Sound Reinforcement Practicum 1

• Production Attachments – introduces you to the allied infrastructure of Performance through empirical backstage training to foster and advance critical enthusiasms in key areas of productions. The component also focuses on the importance of collaboration, communication, and the creative research that binds the various elements of the curriculum.
• Performance Projects – includes stylistic intensives e.g. Gamelan Ensemble and a Variety project which provide opportunities for individual development with contemporary performances, thus fostering eclecticism.
• Technical and Production Management – applies techniques and skills in diverse aspects of theatre management and technology: Stage Production and Management, Lighting, Sound and Stage Design, including Space, Stage and Mechanisms.
• Blog – You will keep a logbook in the form of a web-based blog detailing your experiences working collaboratively with other faculties in the Performance Projects component.

Level 2

Audio Production 2

• Audio Engineering 2 – continues with a higher emphasis on project-based learning; you work closely with musicians and performers to realise studio recording and mixing project. You are now required to implement the fundamental concepts of Audio Engineering 1 in a personalised work method for recording studio applications.
• Sound Reinforcement 2 – requires you to reflect upon the underlying nature of sound and music and to articulate and communicate nuanced qualities of live sound reinforcement in collaborations with musicians, artists, producers, and directors in order to provide artistically appropriate results for live performance.

Audio Technologies

• Digital Audio Production – gives you a detailed look at core technologies and tools in digital audio. The in-depth view of digital audio processing and MIDI implementations provides you with the underlying technical knowledge to approach any digital audio workstation to troubleshoot issues and implement complex workflows appropriate to the task at hand.
• Technical Drawing – provides the basic skills and knowledge of computer-aided design. You apply these skills to the conception and execution of technical drawing for theatre productions, illustrating stage layout, technical requirements, and PA system location, with additional reinforcement of health and safety regulations in live performance productions.
• Electrical Circuits and Equipment Maintenance – explores a detailed analysis of audio electronics, such as amplifier, loudspeaker, and microphone construction. An overview of electrical circuits introduces you to the application of audio equipment design and maintenance.

Sound Design and Acoustics

• Acoustics – continues with the analysis and reflection of underlying concepts explored in Audio Technologies and you are required to apply this knowledge to various acoustics environments and provide technical and artistic solutions to sound system design and implementation.
• Sound Design for Theatre – provides you with a basic understanding of sound design and script analysis in order to design idiomatic sound effects and respond to performance cues accurately.

Sound Reinforcement Practicum 2

• Sounds Reinforcement Practicum 2 – begins your journey into practical, faculty-directed projects and allows you to engage in hands-on, instructor-led projects for music and theatre performances. You are expected to implement a basic knowledge of the workflow and equipment checklist for sound reinforcement of live performances.
• Blog – requires you to keep a logbook in the form of a web-based blog detailing collaborative projects. You must reflect upon your developing working methodologies and consider the ramifications of your contributions to the overall success of a collaborative project. Additionally, you must keep abreast of current trends in technologies and working methodologies by researching current trade publications.

Level 3

Audio Production 3

• Audio Engineering 3 – requires you to become fully independent to conceive, implement, and successfully complete post-production, recording and mastering projects. Through collaborations, student-led recording and post-production projects, showcase your ability to work in a dynamic field as a team leader, as well as an integral part of a group. It also includes a detailed exploration of sound design for film and video such as ADR, Foley, synchronous sound and asynchronous sound.
• Sound Reinforcement 3 – focuses on larger project management for live performance. You are required to work independently, as well as part of a team on large-scale projects, and must undertake leadership roles in order to ensure project completion and artistic realisation.

Advanced Audio Systems Design

• Audio Systems Design and Implementation – advances your technical knowledge in audio system design, by integrating audio technologies and the needs of corporate AV, as well as large multimedia performances.
• Computer Systems and Networking – provides an in-depth look at basic computer repair, maintenance, and networking topologies involving networked audio systems design for artistic and commercial use.
• Final Project Presentation and Folio – requires you to complete a large-scale AV networking solution for a hypothetical corporation or performance venue, taking into account concepts learned in previous modules, such as acoustics, electrical systems, technical drawings, fire and safety regulations, computer networking, applicable building codes, budgeting, quality control, and testing and commissioning.

Music Entrepreneurship
Through this module, you will be taught the basic principle of entrepreneurship in the music industry. Some of the skill sets covered include developing interpersonal skills, leadership and organisational skills, knowledge of marketing, publicity, product, professionalism, presentation, and networking.

Sound Reinforcement Practicum 3
In this module, you will continue working on live performance projects but are required to work more independently and efficiently.

• Blog – requires you to keep a logbook in the form of a web-based blog detailing your experiences working collaboratively with other faculties in various collaborative projects. It should reflect upon your established working methodologies and consider the ramifications of your contributions to the overall success of a collaborative project, examining if there is area for improvement.
• Industry Placement – requires you to undertake an industry placement in the form of an attachment to a practitioner or a venue or company. Through the placement, you should demonstrate professional qualities and transferable skills necessary for employment: the exercise of initiative and personal responsibility; decision-making in complex and unpredictable contexts; and the learning ability needed to undertake further training in specialised or related fields.

Faculty Members

Head, School of Contemporary Music
Timothy O'Dwyer

Timothy O'Dwyer, is a saxophonist, composer, educator and the current Head of the School of Contemporary Music at LASALLE. Trained as a jazz musician at the Victorian College of the Arts graduating with a BA Music in 1993 he furthered his studies in 1995 with contemporary classical composer Richard Barrett in Amsterdam and visionary saxophonist/ improviser Evan Parker in London. He was a founding member of the seminal punk-jazz group bucketrider from Melbourne (1992) and has been a member of the Elision Contemporary Ensemble since 1994 with which he has performed and composed works that have premiered at arts festivals throughout Australia, Europe and Japan including the 2009 Huddersfield Contemporary Music Festival. He formed the Tim O'Dwyer Trio in 2005, and with them has performed at important jazz festivals in Australia, South East Asia, Japan and Europe including the 2010 Montreux Jazz Festival. Timothy has been involved in over 30 cd releases 13 of which have featured his own compositions. He is currently a PhD candidate at Queensland University of Technology, Australia, researching the nexus between improvisation and composition.

Lecturer, Popular Music
Darren Moore

Darren Moore is a drummer, composer and electronic musician born in Edinburgh, Scotland. Having lived his formative years in Perth, Australia, he graduated from the Western Australian Conservation at Edith Cowan University with a Bachelor in Music (Jazz Performance) in 1997. He has since lived and worked professionally as a musician in Perth, London, Melbourne, Sydney and Singapore.

He is an active member of the Singapore musician scene and is regarded as one of the most creative voices in the scene, straddling jazz, experimental, popular, installation work and composing music for theatre and dance. He curates the CHOPPA experimental series and has recently released two solo albums on his own label, Caol Records. In addition, Darren tours internationally performing at major festivals and club circuits in Asia, Australia, Europe and the US. His most recent highlight was a performance with the Tim O' Dwyer Trio at the prestigious 2010 Montreaux Jazz Festival.

Darren has been a lecturer in Popular Music at LASALLE College of the Arts in Singapore since 2007. He is currently a Doctorate of Musical Arts candidate at Griffith University in Brisbane, Australia, his research looks at the adaptation of Carnatic Indian rhythms to the drum set.

Lecturer, Music Technology
Justin Hegburg

Having graduated with a Master of Music, Music Technology, New York University, New York, USA, Justin joined LASALLE College of the Arts in 2006. Working freelance and well-established studios in New York, Justin's audio production work can be heard on multiple commercial releases. With a Bachelor of Music Composition from The University of Miami, Coral Gables, Florida, his original music compositions have been performed in USA, Brazil, and Singapore. He received in Certificate in Audio Engineering from the Conservatory of Recording Arts and Science, in Tempe, Arizona, USA.

Lecturer, Music Technology
Brain O'Reilly

Brian O'Reilly works within the fields of electro-acoustic composition, moving images and noise music. Also he is a contrabassist focusing on uncovering the inaudible textures and hidden acoustic microsounds of his instrument through the integration of electronic treatments and extended playing techniques. He attended the School of the Art Institute of Chicago on a scholarship for sculpture during which time he perused independent studies in improvisation and composition with members of Chicago's AACM. After which he relocated to Paris to research the composition methods of the composer Iannis Xenakis, receiving a appointment as Musical Assistant at Xenakis' studio. He pursued graduate studies in Electronic Music at the University of California Santa Barbara's Media Arts and Technology program, where his collaborations with Curtis Roads began with the project "Point Line Cloud" which won an Award of Distinction at Ars Electronica in 2002. As Operations Manager of Recombinant Media Labs in San Francisco He worked on many project for the Asphodel record label & recording studio, and has received several international residencies/commissions including invitations to work as a guest artist at the Zentrum für Kunst und Medientechnologie (ZKM) in Germany, the SH Festival in Shanghai and All Tomorrow Parties festival curated by Autechre in the UK. He has worked on projects with Eliane Radigue, Luc Ferrari, Curtis Roads, Zbigniew Karkowski, Otomo Yoshihide, Matmos, Maryanne Amacher, Zeitkratzer, Christian Marclay, William Basinski, Fe-Mail, Yasunao Tone, Francisco López, Garth Knox, Steina and Woody Vasulka, amongst others. Currently He is performing audio and visuals solo and in the groups Iron Egg & Black Zenith, and is a lecturer at LASALLE's School of Contemporary Music.

Lecturer
Belinda Foo

Belinda Foo is a Composer, Arranger and Orchestrator. She is also a lecturer in the LASALLE College of the Arts where she teaches Aural, Theory and Pop Composition.

Belinda has been in the music industry for the last 25 years involved with arranging and writing commercial music as well as working as a pianist, music director for various performances and musicals.

Her first love is writing: she has written and orchestrated music for the Singapore and Hongkong Arts Festivals and the Singapore Symphony Orchestra.

She has also written original music for the musicals, "Darkest Before Dawn", "The Other Wiseman" and "The Three Trees". Her most recent project is "JEREMIAH", a Symphonic Poem. Currently, she is working on a Symphonic Dance, "JOB", which she hopes to complete this August.

"Let the beauty we love be what we do" (Rumi) is her guiding principle. She seeks to draw out beauty from and through her music, the musicians she works with and from her students.

Lecturer,
Frank DeMeglio

Frank DeMeglio is a classical music teacher, lecturer and writer. He has taught part-time at LASALLE since 2003 and joined the faculty in 2009. Of particular interest to Frank is the efficient technical approach to the keyboard that aligns with sound biomechanical principals, especially with respect of injury prevention and cure. He studied piano at the University of Michigan and earned a Bachelor degree in performance. After graduating, he taught with Randy and Nancy Faber, authors of the best-selling Piano Adventures library of piano books. He returned to the University of Michigan for an MBA in marketing in 1992, and was hired by Steinway & Sons as their New York Institutional Sales Representative. While working for Steinway & Sons, part of his duties included managing the famed Steinway Selection Room of concert and studio grand pianos. In 2000, Frank DeMeglio moved to Singapore where he wrote the classical music reviews for the Business Times from 2001 to 2004. He continues to guest review (most recently for the 2007 Singapore International Piano Festival) and his interviews of international pedagogues and performers appear in print and on the web. Frank's modest performing career included recitals in Spain and Japan, where he recorded a special-release CD in honor of the 15th anniversary of the UNESCO chapter of Narita City, Japan.

Entry Requirements

Academic Requirements

• Recognised Singapore qualification: Singapore-Cambridge GCE 'O' Level: 5 subjects (including English) at C6 higher, or recognised equivalent.
• Recognised international qualifications: Please click here to view list
• Two essays of about 200-250 word each. Questions to be determined later.
• Resume – including training and/or performance experiences (e.g. SYF etc)
• Two referees. One of who should be able to recommend your work.

Audition & Interview Requirements

You are invited to a live audition on the basis of the prescreening recording and meeting the minimum academic requirements.

Prescreening Recording: You are required to submit a music DVD according to the audition requirements. You are expected to demonstrative a strong knowledge of the music you are presenting, as well as a clear vision of your own musical future.

Live Audition: If selected, you are required to attend a live audition with the School of Contemporary Music, LASALLE in May.

A generalist programme covering music and audio production for live performance and recorded music production, music theory and aural training that prepares students for entry into the music industry or further degree studies. Students from all music backgrounds can enter this programme with an audition demonstrates their previous experience in music and audio production.

You are required to attend an interview with an audition component to demonstrate your creative potential. You are expected to demonstrate experience in music and audio production by presenting two examples of your work via CD or DVD, as well as a clear vision for your own musical future. Examples of acceptable CD/DVD submissions are recordings of music productions, original compositions recorded and produced by you, or DVD video of a live performance where you were an integral part of a live sound reinforcement production.

Music Training Pre-requisites

Previous qualifications in Music Theory or Practical exams are preferred but not a requirement for entry into the Diploma programme. Students will be judged solely on their ability to perform during the audition and interview process.

Audition Guidelines

• Theory / Aural / Academic: Complete a music theory, aural, and written test set by the School of Contemporary Music, LASALLE.
• Practical: Present 2 examples of work in music and audio production. Students must be prepared to discuss their role in the production and demonstrate an understanding of the technologies involved. (CD/DVD must be submitted to the audition panel)