Introduction To Sound |
2001 (001) |
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Mon/Wed
6:45 PM - 9:15 PM
In Person
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Description
This course will introduce students to basic techniques of working with sound as an artistic material. As a prerequisite for many of the department?s upper level offerings, the class is designed to familiarize the student with both the technology and the historical and aesthetic background relevant to our facilities and courses, to the field of ?sound art? and experimental music in general, and to the application of sound in other disciplines (video, film, performance, installations, etc.) Equipment covered will include microphones, mixers, analog and digital audio recorders, signal processors and analog synthesizers. Hard-disk based recording and editing (ProTools) is introduced, but the focus is on more traditional analog studio technology. The physics of sound will be a recurring subject. Examples of music and sound art, created using similar technology to that in our studios, will be played or performed and discussed in class. The listening list will vary according to the instructors? preferences. Readings are similarly set according to the instructors? syllabus: some sections employ more or less reading than others, contact specific instructors for details. Students are expected to use studio time to complete weekly assignments, which are designed to hone technical skills and, in most cases, foster artistic innovation. Some of these projects can incorporate outside resources (such as the student?s own computers and recordings), but the emphasis is on mastering the studio.
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Class Number
1825
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Credits
3
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Department
Sound
Area of Study
Digital Communication
Location
MacLean 420
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Introduction To Sound |
2001 (002) |
Austen Brown
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Tues
9:00 AM - 3:00 PM
In Person
|
Description
This course will introduce students to basic techniques of working with sound as an artistic material. As a prerequisite for many of the department?s upper level offerings, the class is designed to familiarize the student with both the technology and the historical and aesthetic background relevant to our facilities and courses, to the field of ?sound art? and experimental music in general, and to the application of sound in other disciplines (video, film, performance, installations, etc.) Equipment covered will include microphones, mixers, analog and digital audio recorders, signal processors and analog synthesizers. Hard-disk based recording and editing (ProTools) is introduced, but the focus is on more traditional analog studio technology. The physics of sound will be a recurring subject. Examples of music and sound art, created using similar technology to that in our studios, will be played or performed and discussed in class. The listening list will vary according to the instructors? preferences. Readings are similarly set according to the instructors? syllabus: some sections employ more or less reading than others, contact specific instructors for details. Students are expected to use studio time to complete weekly assignments, which are designed to hone technical skills and, in most cases, foster artistic innovation. Some of these projects can incorporate outside resources (such as the student?s own computers and recordings), but the emphasis is on mastering the studio.
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Class Number
1826
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Credits
3
|
Department
Sound
Area of Study
Digital Communication
Location
MacLean 420
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Introduction To Sound |
2001 (003) |
James Paul Wetzel
|
Thurs
9:00 AM - 3:00 PM
In Person
|
Description
This course will introduce students to basic techniques of working with sound as an artistic material. As a prerequisite for many of the department?s upper level offerings, the class is designed to familiarize the student with both the technology and the historical and aesthetic background relevant to our facilities and courses, to the field of ?sound art? and experimental music in general, and to the application of sound in other disciplines (video, film, performance, installations, etc.) Equipment covered will include microphones, mixers, analog and digital audio recorders, signal processors and analog synthesizers. Hard-disk based recording and editing (ProTools) is introduced, but the focus is on more traditional analog studio technology. The physics of sound will be a recurring subject. Examples of music and sound art, created using similar technology to that in our studios, will be played or performed and discussed in class. The listening list will vary according to the instructors? preferences. Readings are similarly set according to the instructors? syllabus: some sections employ more or less reading than others, contact specific instructors for details. Students are expected to use studio time to complete weekly assignments, which are designed to hone technical skills and, in most cases, foster artistic innovation. Some of these projects can incorporate outside resources (such as the student?s own computers and recordings), but the emphasis is on mastering the studio.
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Class Number
1827
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Credits
3
|
Department
Sound
Area of Study
Digital Communication
Location
MacLean 420
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Top:Archives, Sampling, and Appropriation |
3004 (001) |
Kamau A. Patton
|
Tues
9:00 AM - 3:00 PM
In Person
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Description
This course is a sound production practicum with a focus on sampling and appropriation. Students will engage sound archives as a resource for creative sound design and music production. The seminar will consider contemporary strategies of sampling and appropriation in the context of popular culture, media preservation and intermedia design. Special attention will be given to public sound archives and library collections. Coursework includes bi-weekly reading responses, a mid-term, and a final project. Final projects can take form as a research based text or as a creative project that blends modes of creative production. Students are expected to actively and critically engage the social, political and cultural factors that inform their practice. Course readings explore the scholarly discourse on Interculturalism with focus on processes, structures, systems, and methodology in relation to the moral, ethical and aesthetic questions raised by working with cultural artifacts as material. The seminar encourages trans-disciplinary methodology and cross-media production and is structured as a modified in-person course. The hybrid format includes weekly online topics lectures, student led group discussions and individual student meetings. Online discussion groups will be created for each unit. Students are expected to participate in online discussions in response to unit readings, case studies and discussion prompts. In person studio and access to technology and tech support will be facilitated for students who wish to have access to campus resources.
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Class Number
1831
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Credits
3
|
Department
Sound
Location
MacLean 417
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Acoustic Ecology and Phonography |
3006 (001) |
Eric Leonardson
|
Fri
9:00 AM - 3:00 PM
In Person
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Description
This course is founded on exploring and understanding the richness and diversity of our sound environment: the sounds that are present, how they constantly change in time, their impact socially and individually, and how they can be attentively recorded and creatively deployed. Research conducted through recording will serve as a basis for discussion of acoustic ecology: an interdisciplinary concern with the social, scientific, and aesthetic interrelationships between individuals and their environment mediated by sound. Students will gain technical and critical skills and an understanding of the reciprocity of listening and sound-making, leading to increasing the potential for effective public engagement and social practice, and engaging with human perception and technology in human and non-human eco-systems. Coursework is supplemented by examining works by artists and writers including Steven Feld, R. Murray Schafer, Annea Lockwood, Pauline Oliveros, Chris Watson, Hildegard Westerkamp, Luz Maria Sanchez, Amanda Gutierrez, Leah Barclay, Christopher DeLaurenti, Jonathan Sterne, Francisco Lopez, Norman Long, Viv Corringham, Christina Kubisch, Andra McCartney, Jean-Fran�ois Augoyard, Henri Torgue, Andrea Polli, Manuel Rocha Irtube and others. Assigned projects include but are not limited to field recording, soundwalking, mapping, habitat monitoring and restoration, learning and cognition, communications, and soundscape composition. These lead to independent individual or collaborative projects.
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Class Number
2118
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Credits
3
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Department
Sound
Area of Study
Community & Social Engagement, Public Space, Site, Landscape
Location
MacLean 522
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Suspended Language |
3009 (001) |
AJ McClenon
|
Mon
9:00 AM - 3:00 PM
In Person
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Description
In thinking about slang, dialects, regional vernacular, language mixing, and code switching, how do we extract the sounds that we make that connect us to our families, communities and places of origin? How do we have to alter and shift these natural sounds in an effort to assimilate? We will explore various ways that our tongues convey language through visual and sonic expressions, storytelling, recordings and written documentation. This course is open to writers, visual artists, sound makers and anyone else interested in the sounds that we make to communicate and how they are seen and heard. We will use class time to read, record and/or perform text-based work: poems, essays, academic papers, literature. This includes work by April Baker-Bell, Theresa Hak Kyung Cha, Wanda Coleman, Rosario Mari�a Gutie�rrez Eskildsen, Lingua Franca, Zora Neale Hurston, Chi Luu, and John J. Ohala, among others. Students respond to readings and the presentation of artists' works, and produce individual text-based sound projects using the technologies of their choice, or no technoloogies at all. Students engage in group critiques for all projects.
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Class Number
2119
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Credits
3
|
Department
Sound
Area of Study
Economic Inequality & Class, Art/Design and Politics, Gender and Sexuality
Location
MacLean 522
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Sound and Image |
3011 (001) |
Lou Mallozzi
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Tues
9:00 AM - 3:00 PM
In Person
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Description
This course focuses on the relationship of sound to moving image, and introduces post-production techniques and strategies that address this relationship as a compositional imperative. Thorough instruction is given on digital audio post-production techniques for moving image, including recording, sound file imports, soundtrack composition and assembly, sound design, and mixing in stereo and surround-sound. This is supplemented by presentations on acoustics and auditory perception. Assigned readings in theories and strategies of sound-image relationships inform studio instruction. Assigned projects focus on gaining post-production skills, and students produce independent projects of their own that integrate sound and moving image. Artists include Chantal Dumas, Walter Verdin, Deborah Stratman, Lucrecia Martel, Martin Scorcese, Abigail Child, Frederic Moffet, Gyorgi Palvi, Francis Ford Coppola, Gary Hill, and others. Writings in theory include texts by Michel Chion, Rick Altman, and others. The student?s independent image-and-sound work is foregrounded and supported; supplemental assigned projects include sound sequence composition and ADR recording and mixing.
Prerequisites
SOUND 2001 or FVNM 2004 or FVNM 5020
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Class Number
1829
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Credits
3
|
Department
Sound
Area of Study
Digital Communication
Location
MacLean 1413
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Analog Synthesis |
3018 (001) |
Austen Brown
|
Wed
9:00 AM - 3:00 PM
In Person
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Description
This course considers the building blocks of modular analog synthesis- oscillators, amplifiers, and filters, using vintage and modern analog equipment. The course also considers various frequency and amplitude modulation techniques, including ring modulation and frequency shifting. These techniques are contextualized in a brief survey of the history of `classical' analog synthesis music, both European and American, with some analysis of classical studio technique in the work of composers such as Stockhausen, Berio, Koenig, Subotnik, Oliveros, Babbit, etc. Weekly compositional projects emphasize particular technical and aesthetic problems.
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Class Number
1830
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Credits
3
|
Department
Sound
Location
MacLean 416
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Sound Installation |
3032 (001) |
Shawn Decker
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Tues
9:00 AM - 3:00 PM
In Person
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Description
This class is intended for advanced undergraduates and graduates who are interested in the use of sound in an installation context. It is expected that students may come from a diverse set of backgrounds, and as such this course will be to some degree determined by the background of the students, and their specific needs. The course will include critical discussions of sound art and related installation and media art practices: a brief history of the sound/art interface, a brief introduction to acoustics, and readings by theorists and artists such as R.M. Schafer, Sterne, LaBelle, Cage, Lucier, Kahn, Lockwood, Fontana, Panhuysen, Lerman, Neuhaus, Monahan, Kim-Cohen, Kubitsch, Hellstrom, and Wollscheid. The topic of real-life sound installation exhibition and social context will also be covered, with input from the SAIC Exhibitions and Events Department. The course will also cover various methodologies for using/creating sound in installations through tutorials that are designed to give functional knowledge of each particular technique, as well as an introduction to the possibilities these techniques. Depending on the students? backgrounds and needs, potential topics for these tutorials include: basic sound recording and playback techniques, basic sound synthesis and electronics for audio, digital sound recording and editing, the fabrication of mechanical systems which create sound, using MAX (a visual MIDI programming language used for control and for processing audio), basic electronics for environmental sensing (sound, light, motion, etc.). In addition to working on various preliminary individual and collaborative projects during the semester, students will write a proposal for and present an installation as their final project.
Prerequisites
Prerequisite: SOUND 2001 or permission of instructor.
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Class Number
2120
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Credits
3
|
Department
Sound
Area of Study
Public Space, Site, Landscape
Location
MacLean 522
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Programming for Sound:Max/MSP |
3052 (001) |
Robert Drinkwater
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Mon
8:30 AM - 11:15 AM
In Person
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Description
This course will provide an introduction to programming for sound synthesis and real-time performance using the Max/MSP and Supercollider II languages. Students will learn the basic structures, strategies, concepts, and vocabularies of these two languages in order to prepare them for using these techniques within other sound department courses.
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Class Number
1832
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Credits
3
|
Department
Sound
Area of Study
Art and Science
Location
MacLean 420
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Virtual Sound |
4019 (001) |
Joseph Michael Kramer, Kristin McWharter
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Wed
9:00 AM - 3:00 PM
In Person
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Description
This course approaches the tools provided by game engines as an experimental sound studio capable of creating new kinds of digital audio works for un-fixed media. Procedural audio tools can lead to endlessly evolving sound compositions and generative music; interactivity can empower navigability through sonic worlds, virtual sound installations, or the creation of new instruments; physics simulations can allow for real, hyperreal, and unreal audio environments for listeners, viewers, and gamers. Starting from the first day with the download of a game engine and a digital audio workstation and ending on the last with the critique of a sound-focused work, this class will provide a thorough introduction to authoring sound-focused art experiences using game engines. Some of the scholars/artists we will study in this course include Janet Cardiff & George Bures Miller�s audio walks, Peter Gena, Poppy Crum, Brian Eno and Peter Chilvers among others. Of particular interest are works that explore the use of real time, interactive, and emergent systems that critically address the ways that sound, action, and presence shape the experience of listening bodies. Screening may include virtual reality works such as Notes on Blindness by Colinart, La Burthe, and Middleton and Spinney or spatial audio experiences such as Scott Reitheman�s Boom App. Through weekly assignments and class studio time, we will focus first on building technical skills and developing some historical context related to game engine development, digital audio production, spatial hearing and spatial audio approaches, and real time motion tracking and interaction. Individual projects for formal class critiques will be proposed by students and may take the form of music composition, virtual sound installation, video game or VR sound design, new sonics forms, etc.
Prerequisites
Any 3000 level ARTTECH or SOUND class
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Class Number
2121
|
Credits
3
|
Department
Sound
Area of Study
Game Design
Location
MacLean 402
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Virtual Sound |
4019 (001) |
Joseph Michael Kramer, Kristin McWharter
|
Wed
9:00 AM - 3:00 PM
In Person
|
Description
This course approaches the tools provided by game engines as an experimental sound studio capable of creating new kinds of digital audio works for un-fixed media. Procedural audio tools can lead to endlessly evolving sound compositions and generative music; interactivity can empower navigability through sonic worlds, virtual sound installations, or the creation of new instruments; physics simulations can allow for real, hyperreal, and unreal audio environments for listeners, viewers, and gamers. Starting from the first day with the download of a game engine and a digital audio workstation and ending on the last with the critique of a sound-focused work, this class will provide a thorough introduction to authoring sound-focused art experiences using game engines. Some of the scholars/artists we will study in this course include Janet Cardiff & George Bures Miller�s audio walks, Peter Gena, Poppy Crum, Brian Eno and Peter Chilvers among others. Of particular interest are works that explore the use of real time, interactive, and emergent systems that critically address the ways that sound, action, and presence shape the experience of listening bodies. Screening may include virtual reality works such as Notes on Blindness by Colinart, La Burthe, and Middleton and Spinney or spatial audio experiences such as Scott Reitheman�s Boom App. Through weekly assignments and class studio time, we will focus first on building technical skills and developing some historical context related to game engine development, digital audio production, spatial hearing and spatial audio approaches, and real time motion tracking and interaction. Individual projects for formal class critiques will be proposed by students and may take the form of music composition, virtual sound installation, video game or VR sound design, new sonics forms, etc.
Prerequisites
Any 3000 level ARTTECH or SOUND class
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Class Number
2121
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Credits
3
|
Department
Sound
Area of Study
Game Design
Location
MacLean 402
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