This module is not currently running in 2024 to 2025.
This module will explore listening and sound within the wider framework of the environment as a whole, viewing the process of communicating through sounds as fundamental to individuals, communities and cultures and to all living beings. Students will be guided through various approaches to sound and listening and explore representations of sound and sound-making. The module will culminate in the production of a substantial piece of creative work and a detailed evaluation that links theory and contextual issues with practice.
Delivery of this module is through lectures (including technical demonstrations) and tutorials (totalling 2 hours per week over one term). Lectures will address learning outcomes 11.1, 11.2, 11.4, 12.1, 12.2, 12.3. Demonstrations will address learning outcomes 11.1, 11.3, 12.1, 12.3, 12.4. Tutorials will address all learning outcomes.
Total Contact Hours: 22
Independent Study Hours: 128 (approx.10 hours per week)
Total Study Hours: 150
Students will be provided with directed background reading and listening to supplement material covered in lectures and demonstrations. The taught elements and demonstrations provide students with the necessary principles, concepts and practical skills to deal with not only the content of this module but also establish a common understanding and knowledge base for future modules.
• Sound design exercise with written evaluation, 300 words, 40% (11.3, 11.4, 12.1, 12.3, 12.4)
• Soundscape composition study with written evaluation, 500 words, 60% (11.1, 11.2, 11.3, 11.4, 12.1, 12.2 and 12.3)
Labelle, B. (2006). Background Noise: Perspectives on Sound Art. London: Continuum.
Norman, K. (2004). Sounding Art: Eight Literary Excursions Through Electronic Music. Aldershot: Ashgate.
Schafer, R. M. (1977). The Tuning of the World. New York: Knopf.
Sonnenschein, D. (2001). Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. Studio City, California: Michael Wiese.
Truax, B. (2001). Acoustic Communication. Stamford, Connecticut: Ablex.
Wrightson, K. (2000). ‘An Introduction to Acoustic Ecology’. Soundscape, The Journal of Acoustic Ecology. 1(1), pp. 10-13
The intended subject specific learning outcomes
On successfully completing the module students will be able to:
1. Demonstrate an understanding of acoustic communication through the creative use of audio technologies.
2. Demonstrate an understanding of sound-making and its cultural significance.
3. Work creatively with sound utilising recently developed audio technologies.
4. Understand the methods needed to confront and explore unfamiliar musical sounds, concepts, repertoires and creative practices.
The intended generic learning outcomes
On successful completion of the module students will be able to:
1. Manage a project and carry it through to delivery.
2. Manage resources, including information sources.
3. Be open to alternative ideas and ways of thinking, demonstrate flexibility of thought.
4. Plan, implement, evaluate, and reflect critically on work in progress.
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