聲景與聲音藝術 Soundscape/sound Art: Concepts and Practices

聲景與聲音藝術 Soundscape/sound Art: Concepts and Practices

課程級別L2 應用層級
學  分3
開課期別104-2 105-1
開課週期
開課系所文學院 戲劇學研究所
預估人數15
開課教師楊建章 澎葉生
搭配場域南萬華 紹興社區

本課程以英語授課。限學士班三年級以上

This course deals with the concept of SOUNDSCAPE and the practices of SOUND ART. Soundscape is a mental tool to listen to and to understand our environment; it is also an engaging dialogue with our “Umwelt.” Sound art is an array of actions and interventions to enhence and distort our perception of sounds. 

This course includes, 
- Presentations of researches and artwork dealing with these topics. Video documentation, attentive listening, explanation of the background of the artists and discussion about the aesthetic questions that they raise. 
- Practical processes. The students are asked to develop some basic elements of the practices. They'll need to use their creativity and their sensitivity to produce some experiences which will be shared and discussed. 
- Collective creation based on personal research. Each student is invited to collaborate in small working groups, exploring some chosen soundscapes in the Taipei basin. 

1. Earshot : every student 
What's up with our ears ? 
Starts from the first class and will continue all the semester. Written and spoken notes about daily sound environments or unusual situations encountered in the city. At least one significant anecdote will be shared and discussed every week during the class. It will include narration and in-site sound recording. Texts can be first be written then read and recorded in the place. Or improvised, spoken and recorded directly in the situation, then transcribed. One must consider those snapshots as short but autonomous sound pieces. Between 1 and 3 minutes. Will be presented online, on our blog. 

2. Earwigs : most of the students (cf. below) 
Make us vibrate and think with the sounds. 
Projects in between audio documentary and sound creation. Should be done by groups of 2. Must include edited and organized environmental sound recordings and narration made by the participants and/or interviews with people met during the project. These pieces aim to be at the same time the audio equivalent of an essay or research article and an artistic work made of sound, proposing a personal (distorted ?) perspective about listening and living in "this" place. Duration should be approximately 10 min. 

Proposed topics (which hopefully may connect with the participants background/interests) : 

- Immersive noises 
Traffic at its peak, crowd, saturation of public space, economical and acoustic territories 
- Historical soundscape 
About the distance between what we hear today and the historical aspect of a urban spot 
- No man's lands 
Sounds in ruins and deserted places, parking lots and other underground storages, empty streets, shopping malls in the early morning 
- Surrounding Hills 
Fauna activities, changes of the seasons, ecosystems in interaction with human, threatened natural environment 

Note : no project inside the campus will be allowed. 

3. Ultrasonic soundscape : 4 selected students 
Yannick Dauby is currently a resident artist at NTU, developping a project about ultrasounds and bats. This project is collaborative, partly research and partly creation. Students of the Graduate Institute of Musicology and Biology Department are welcome to participate. The students participating to this project don't need to make the "Earwigs projects" but will be asked to take active part of the project about ultrasounds and bats. 
Please check the blog for complete description of the project and examples : 

http://kalerne.net/chiroptera/ 

評量方式

No.

項目

百分比

說明

1. 

Final project 

40% 

 

2. 

Class participation 

30% 

 

3. 

Class assignments 

30% 

 

 

週次

日期

單元主題

第1週

2/25 

Presentation and discussion about the class/exercises/projects. 

第2週

3/03 

Introduction/listening session of Yannick's past projects and Chienchang's researches. 

第3週

3/10 

Introduction about the recording equipment/techniques (microphones, recorders, headphones) and field recording practices. 

第4週

3/17 

Introduction about the recording equipment/techniques (microphones, recorders, headphones) and field recording practices. 

第5週

3/24 

Documentation of sound and sound archives. Bioacoustics (Chris Watson, reference to Umwelt) and ethnomusicology (Steven Feld, some ideas about Sound Culture). 

第6週

3/31 

Documentation of sound and sound archives. Bioacoustics (Chris Watson, reference to Umwelt) and ethnomusicology (Steven Feld, some ideas about Sound Culture). 

第7週

4/07 

Sound editing (montage) and mixing. Comparison with cinema (Walter Ruttmann, Stan Brakhage). Introduction to software editing (Reaper). 

第8週

4/14 

Sound editing (montage) and mixing. Comparison with cinema (Walter Ruttmann, Stan Brakhage). Introduction to software editing (Reaper). 

第9週

4/21 

(mid-term break) 

第10週

4/28 

Acousmatic situations. Non-mediated (ex. Ornithology). Sound installation (Max Neuhaus), loudspeaker virtuosity in Musique concrète. Discussion about loudspeakers in public space. 

第11週

5/05 

Acousmatic situations. Non-mediated (ex. Ornithology). Sound installation (Max Neuhaus), loudspeaker virtuosity in Musique concrète. Discussion about loudspeakers in public space. 

第12週

5/12 

Radio. Electromagnetic phenomena (natural radio), radiophonic theater (Orson Welles), radio-art (Tetsuo Kogawa, Luc Ferrari). 

第13週

5/19 

Radio. Electromagnetic phenomena (natural radio), radiophonic theater (Orson Welles), radio-art (Tetsuo Kogawa, Luc Ferrari). 

第14週

5/26 

Listening bodies. The ear. Interacting/improvising with the soundscape (Akio Suzuki, Kiyoharu Kuwayama). 

第15週

6/02 

Last developments and following the personal projects. 

第16週

6/09 

Last developments and following the personal projects. 

第17週

6/16 

Collective listening and presentation