|373SS||credit||2||2 seminar hours (45 min) of instruction per week, 32 to 42 hours of self-study||English||winter|
Sara Patrícia DA SILVA PINHEIRO
Name of lecturer(s)
Sara Patrícia DA SILVA PINHEIRO
The course complements the sound practice of students by providing a theoretical underpinning for their work. This introduction to Sound Studies, both historical and contemporary, provides a framework for student’s understanding of sound art projects as well as examining the literature and theories related to contemporary music, composition and recorded sound in the late 20th and 21st centuries.
The class emphasises on each part contingent on the cohort of student’s sound and video art works.
There is an overlap between all of these subjects in the theoretical literature. Texts, musics, films and moving image and sound artworks serve as points of departure for discussion and understanding of sound phenomena.
The Theory of Sonic Awareness in the Greeting - Pauline Oliveros
Adequate modes of listening - Ola Stockffelt
Uneasy listening - Elizabeth Leguin
Sonic Warfare Sound, Affect, and the Ecology of Fear - Steve Goodman
The Work of Reproduction in the Mechanical Aging of an Art: Listening to Noise - Stan Link
example art works:
Janet Cardiff - various works
Robert Morris – box with the sound of its own making
Felix Blume - video works
Maggi Payne – video works
Alvin Lucier – I am sitting in a Room
Dick Raaijmakers – Intona
Cathy van Eck – song no 3
Daphne Oram – optical scores
Eliane Radigue – feedback studies
Pierre Henry – variations pour une porte et un soupir
Students become aware of the uses of sound/music in various media. Students understand how sound is used to furnish meaning in cinema and in media artworks. Students begin to understand how sound is received. Students become aware of the wide literature and current thought in the burgeoning field of Sound Studies.
Prerequisites and other requirements
ATTALI, Jacques. Noise: The Political Economy of Music. Minneapolis, Minn: Univ Of Minnesota Press, 1985. 196 pages,. ISBN 978-0816612871 .
AUGOYARD, Jean Francois. & TORGUE, Henri. Sonic Experience: A Guide to Everyday Sounds. Montreal: McGill-Queen's University Press. 2006. 230 pages. ISBN 978-0773529427.
CAGE, John., Silence: Lectures and Writings 50th anniversary edition. Middletown, Conn.: Wesleyan University Press. 2011. 312 pages. ISBN 978-0819571762.
DEMERS, Joanna, Listening through the Noise: The Aesthetics of Experimental Electronic Music. New York: Oxford University Press, 2010. 216 pages. ISBN 9780195387667.
HEGARTY, Paul. Rumour and Radiation, Sound In Video Art. New York: Bloomsbury, 2015. 216 pages. ISBN 9780415904575 .
SCHAFER, R.Murray., The Tuning of the World. New York: Random House Inc., 1977. 301 pages. ISBN 978-0394409665.
STERNE, Jonathan. The Audible Past, Cultural Origins of Sound Reproduction. Durham, N.C: Duke Univ. Press, 2003. 472 pages. ISBN 978-0822330134.
Evaluation methods and criteria
Students will be evaluated according to their attendance – min. 75%, participation in class, commitment to the subjects and final essay.
This course is an elective for all AMU students
Schedule for winter semester 2023/2024:
room SF 3116
Studio FAMU - VR LAB
DA SILVA PINHEIRO S.
|Date||Day||Time||Tutor||Location||Notes||No. of paralel|
|Mon||14:50–16:25||Sara Patrícia DA SILVA PINHEIRO||Studio FAMU - VR LAB
Schedule for summer semester 2023/2024:
The schedule has not yet been prepared