sound class syllabus
Medium and Material/ Spatial Waveforms/ Graduate Sound
ART 3504/4514/5604
meets mondays and wednesdays 12:30-2:15
newman library 122
lesley duffield he/him
collegiate assistant professor of art
duffles@vt.edu
discord|zoom
officespace: architecture annex 110
catalog descriptions
The courses meeting at this time explore a range of practical and material considerations for sound as a creative medium. The skills developed within this course include best capture practices, navigating digital audio workstations, and generating sound digitally. Projects focus on developing imaginative methods for capturing, assembling, presenting, and documenting sound-based projects both physically and digitally. Projects are to be crafted independently of the various lectures and workshops throughout the semester. The ART 3504 course number may be repeated with different content for a maximum of 12 credits. Students may take Sound a second time at the 4000-level.
objectives. (by section)
ART 3504: Medium and Material. The core of the course is concerned with generating, capturing, editing, presenting, critiquing and analyzing sound as medium and material. This core consists of workshops, lectures, field work, and studio time. Upper level sections will derive their studio work from modified prompts in this section.
hone capacity to compel listening
deftly craft flawless audio projects for all contexts using the using par and sub-par industry standard sound equipment
incorporate handmade electronics to generate sonic textures
reliably capture, mix, and master faithful audio in studio and in the field
confidently navigate layered workflows in digital audio workstations from capture to delivery
craft and deliver 3 projects for critique involving sound
critique sound art projects beyond the common language of music
Attendance policy: Meets every monday and wednesday. On the 4th absence you risk failing the class.
Unless otherwise specified, you are expected to attend every class session, critique, and workshop.
ART 4514: Spatial Waveforms The upper-level sound course builds on the prompts from the 3504 section with focus on presentation in multi-channel, 3D spatial, mixed, and virtual environments. Some experience with Unity and Unreal is helpful but not required. Students develop creative projects that make impactful and effective use of spatial audio. In other words, you basically translate what happens in the 3xxx section into 3D virtual audio.
You will use a game engine and a controller to present your work.
Attendance policy: Meets every monday and wednesday. On the 4th absence you risk failing the class.
Unless otherwise specified, you are expected to attend every class session, critique, and workshop.
4xxx level students are required to attend every critique, workshop, and
Translate 2D spatial audio in virtual environments through interactive art using 3D software
Create interactive/virtual art objects. Playable art with an emphasis on sound.
Attempt an ambisonic field recording from start to finish. Employ in a game engine.
Create 3 working interactive experiences for critique.
Diagnose problems with spatial audio by learning the limitations of the technologies used.
Demonstrate the process by which you make your work.
ART 5604: Graduate Sound. MFA students develop creative research in aural, sonic, and/or vibrational phenomena as they work towards their Creative Technologies MFA. The research tools at your disposal are limited only by your willingness to pursue access to the University facilities. Collaboration with Undergraduates in the 4514 section with approval from faculty.
Develop a sonic dimension to your creative research through intentional investigation and integration of audio technologies
Artistically deploy any of a wide variety of independently researched technologies including touch designer, pureData, processing, and supercollider. Demonstrate these applications as they pertain to your creative research/thesis.
Develop and provide 1 low tech sound workshop on a subject of your choosing.
Craft 1 embodied sonic experience
Give a formal artist talk at the beginning and end of the semester.
Participate in 1 undergraduate critique.
Attendance Policy: Graduate Students are not required to attend class regularly but are welcome to attend every session outside of the following obligations:
MFA Course expectations:
Attend 1 critique, where you will also be critiqued.
Give 2 artist talks: at the start and end of the semester featuring research, and how does sound fit?
Pilot one sound workshop giving you a CV line. This can be an experience, a technical demo, or a hands-on workshop.
Check in with faculty periodically for research updates.
Useful, not at all required, texts:
Collins, Nicholas. Handmade Electronic Music. 2nd ed.
New York. Routledge. 2006.
Collins, Nicholas. Handmade Electronic Music. 3rd ed.
New York. Routledge. 2020. Companion Website: www.HandMadeElectronicMusic.com
Kim-Cohen, Seth. In the Blink of An Ear: Toward a Non-Cochlear Sonic Art.
New York. Bloomsbury. 2008.
Gibbs, Tony. The Fundamentals of Sonic Art and Sound Design.
New York. Bloomsbury. 2007
Audio production facilities resources on campus
Newman Library production studios (BFA MFA)
ICAT Perform Studio (MFA) links to google form.
DITC True School Studio (MFA BFA) Fridays 2-5. Media Building 103
Newman Library Studios Equipment Checkout
CID Makerspace
List of relevant art/sound events this semester
August 28 DITC Aerosol Event.
More TBA.
grading
creative work 30%
participation 20%
critique 20%
technique 15%
written work 15%
grading scale
A 100%to94%
A- < 94%to90%
B+ < 90%to87%
B < 87%to84%
B- < 84%to80%
C+ < 80%to77%
C < 77%to74%
C- < 74%to70%
D+ < 70%to67%
D < 67%to64%
D- < 64%to61%
F < 61%to0%