COURSE SCHEDULE
This schedule is subject to change:

FALL 2010 Sound Theory and Production

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FIRST HALF OF QUARTER: WEEKS 1 - 5
SOUND-DESIGNS and RECORDING & EDITING TECHNIQUES
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Week 1 - Introduction to Sound and Recording Environments
We will look at early conceptual artists, composers, and multimedia pioneers who began incorporating sound into their work. Learning to record and edit basic recordings.
Thursday, September 23
Overview of the course and a survey of sound-art and creative works in sound.
Assignment 1: In groups of 2. Each group will use a flash recorder to record 1. a sound of chaos and 2. a sound or tranquility.

Tuesday, September 28
Listen to Assignment 1
Continue overview of sound-practices, including in film and video, and begin examining ProTools interface.
Reading: excerpts from Modern Recording Techniques by David Miles Huber - - pp **** in Reader
Reading:excerpt from Pro Tools 8 for MAC 0S X and Windows -- pp **** in Reader
Assignment 2: Make a recording of a piece of text. Use editing and sequencing techniques to generate a sound-work using language as sonic material.
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Week 2 - Language
Examine and discuss artists and others who have used audio production as a primary storytelling medium with special emphasis on speech and language.

Thursday, September 30
Be prepared to discuss:
Reading: "Voice: A Semiotics of the Voice" by Theo van Leeuwen - pp **** in Reader
Reading: "Pamela Z" interview from Pink Noises , pp **** in Reader

Tuesday, October 5
Be prepared to discuss:
Reading:"Two Sounds of the Virus: William Burroughs's Pure Meat Method" from Noise, Water, Meat by Douglas Kahn -- pp **** in Reader
Crit: Assignment 2
Assignment 3: Sound Design TBA
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Week 3 - Abstraction
We will explore the meanings that sounds carry when we hear them and how to exploit the cultural and psychological meanings we find in sounds.

Thursday, October 7
Abstraction in sound design (Burtt, Murch, Lynch)
Abstraction in sound art (Subotnick, Amacher, Tudor)

Tuesday, October 12
CRIT: Assignment 2
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Week 4 - Design as Strategy and Choice

Thursday, October 14
CRIT: Assignment 2 (cont'd)
Pro-tools workshopping.

Tuesday, October 19
Pro-Tools demonstrations in sound-processing and synthesis.
Reading: "Murch and Burtt: The Sound Designer as Composer" by Stephen Keane -- pp **** in Reader
e prepared to discuss:
Reading:"The Parameters of All Sound" from Noise, Water, Meat by Douglas Kahn -- pp **** in Reader
Assignment 4 (Mid-Term): TBA

Thursday, October 21
CRIT: Assignment 3
Synthesis in Design and Use
Reading: "Jessica Rylan" from Pink Noises, pp **** in Reader

WRITING ASSIGNMENT: Write a 6-page research paper about a sound-artist from a list I've provided:
DUE NOVEMBER 18th at the BEGINNING OF CLASS
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Week 5 - Sound & Vision
Tuesday, October 26
Dialogue, Diagetic and Non-diagetic sound
Reading:Film and the Wagnerian Aspiration: Thoughts on Sound Design and the History of the Senses" by James Lastra -- pp **** in

Thursday, October 28
dialogue workshop in TV studio

Week 6- MID TERM CRITS
sound design

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SECOND HALF OF QUARTER: WEEKS 7 - 10
INTERSECTION OF SOUND AND MOTION PICTURE and PUBLIC SPACE
plus ADVANCED PROTOOLS APPLICATIONS
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Week 7- Advanced mixing in Pro Tools (TUESDAY)
Sound design and recording techniques in video & film. Using Pro Tools to edit dialog elements and add foley, effects, and other sound cues.
Tuesday November 9
In-class pro-tools workshop
Thursday November 11 - Veterans' Day Holiday
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Week 8– Sound in Public and Performing Space
Surround sound, spatialization, placing sound in space.

Tuesday November 16
Pro Tools work/workshop in mixing and routing

Thursday November 18
Installation and interactive sound art
WRITING ASSIGNMENT DUE BEGINNING OF CLASS
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Week 9- Works in progress review (TUESDAY)
Tuesday November 23 - review works-in-progress (mandatory)
Thursday, November 25 - Thanksgiving Holiday
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Week 10 - Final Projects and Critiques.
Tuesday November 30; Thursday December 2