Subject is not scheduled Not scheduled
|373SS||credit||2||2 seminar hours (45 min) of instruction per week, 32 to 42 hours of self-study||English||winter|
Name of lecturer(s)
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 cinematic works, video-art, and 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 is divided into emphasis on each part contingent on the cohort of student’s collective interests.1. The soundtrack, including all aspects of the soundspace of the film, focussed on traditional feature length narrative and documentary works. 2. sound and video art works. 3. music and music/sound composition. There is 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
Timbral praxis: when a tree falls in the forest is it music? - Paul Rudy
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
Music, Motion, and Subjectivity in ways of listening - Eric F. Clarke
Locative Media as Sonic Interaction Design: Walking through Placed Sounds - Frauke Behrendt
example art works:
Janet Cardiff - various works
Susan Philipsz - various works
Ryan Trecartin - video works
Richard Mosse - The Enclave (2012)
Lawrence Abu Hamdan - various works
Robert Morris – box with the sound of its own making
Felix Blume - video works
Maggi Payne – video works
Fausto Romitelli - Professor Bad Trip
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
Michael J. Schumacher - various multichannel sound works
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. 70%, participation, commitment and final essay.
No schedule has been prepared for this course
The subject is a part of the following study plans
- Audiovisual Studies - Master - 1920_1y (required optional subject)
- Audiovisual Studies - master_2021 (required subject)