Students of this course may try their hand at their own sound interventions and musical compositions, or simply focus on learning more about diverse musical traditions, sonic experimentation, and acoustic phenomena in everyday life. Designed by artist and Duke professor, Pedro Lasch, and UdK composer Mathias Hinke, this course is also co-taught by scholar and musician Jace Clayton (DJ Rupture) and curator Candice Hopkins (Documenta 14). The lectures link major artistic developments of recent decades to wider ideas about sound in specific social and spatial contexts.
Art of the MOOC: Experiments with Sound
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4.8
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Il y a 8 modules dans ce cours
This module introduces the four co-teachers of the course (Lasch, Clayton, Hinke, Hopkins), along with five analytical concepts that we will use throughout its sections and projects: Frequency, Perspective, Material Frame, Time Frame, and Concurrency. These concepts are designed to encompass a wide range of acoustic phenomena within spatial and social experience.
Inclus
2 vidéos2 lectures1 devoir
This lesson expands on specific terms or ‘sound elements’ that include tuning, resonance, silence, improvisation, rhythm, synchronization, duration, and timbre. It also addresses traditional tools in sound production, from musical instruments to sampling, auto-tunes, and other more recent technologies. The module concludes by exploring the role of sound in specific non-musical social settings and practices, such as clapping, fan culture, sports, traffic jams, mass demonstrations, and more.
Inclus
10 vidéos1 devoir
The practical component of this section is optional, asking learners to choose a space with specific ‘sound rules’ and change or alter these rules through actual experimentation.
Inclus
1 vidéo1 lecture1 devoir
This lesson begins by focusing on the relationship between experimental practices and scores or notation systems. It also examines how sound has been used and understood by artists in specific urban contexts, such as ports, train stations, and airports, as well as rural settings, including forests, gardens, and the wider landscape. We conclude with an examination of how sound and music travel, be it through the populations who produce it, or the objects and digital files that are used to record and share it.
Inclus
8 vidéos1 devoir
The practical component is optional, inviting learners to ‘erase a sound in space’ through a range of possible strategies.
Inclus
1 vidéo1 lecture1 devoir
This lesson provides an overview of the methods and ideas from different schools of listening. It also presents a critical examination of the term ‘world music’ and how it has evolved in relation to economic and cultural globalization. With this global perspective in mind, the concluding portions of our lectures are dedicated to acoustic experience and musical experimentation on the net, the radio, cellular networks, and various social media, including all of the glitches, accidents, and failures we associate with these platforms.
Inclus
8 vidéos1 devoir
The practical component of this module is optional, asking learners to produce their own experiment with media and technical failure.
Inclus
1 vidéo1 lecture1 devoir
This module is optional and only for those who wish to put what they learned from the course into one final project that is more open and ambitious in scale. Two options are given for this, one being your most ambitious project, and the other based on the creation and use of your own musical instruments.
Inclus
1 vidéo1 lecture1 devoir
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4.9 (19 évaluations)
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