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所在平台: Coursera |
课程主页: https://www.coursera.org/learn/experiments-with-sound
课程评论：没有评论
课程名称：MOOC艺术：声音实验 课程概述：本课程鼓励学生尝试自己的声音干预和音乐创作，或专注于学习多样的音乐传统、声音实验和日常生活中的声学现象。该课程由艺术家和杜克大学教授Pedro Lasch和乌尔克大学作曲家Mathias Hinke设计，并由学者及音乐家Jace Clayton（DJ Rupture）和策展人Candice Hopkins（Documenta 14）共同授课。课程的讲座将近几十年的主要艺术发展与特定社会和空间环境中的声音观念联系起来。课程还包括许多关键思想家和从业者的嘉宾演讲，如Christopher DeLaurenti、Jen Delos Reyes、Tina Haver Currin等。正如“MOOC的艺术”这一标题所暗示的，学习者被鼓励将MOOC视为一种公共艺术媒介，尤其是在课程的可选实践组件、地方项目制作、全球交流和批评反馈中。课程不要求事先具备声音制作或音乐经验，同时也为高级学习者提供了具有挑战性的项目选项。 课程大纲： 1. **介绍与分析概念**：介绍四位共同授课教师及其将使用的五个分析概念：频率、视角、材料框架、时间框架和并发性，涵盖空间和社会经验中的声学现象。 2. **声音与社会实践的元素**：扩展特定的“声音元素”术语，包括调音、共鸣、沉默、即兴、节奏等，并探讨声音在非音乐社会环境中的角色。 3. **项目：玩转声音规则**：选择一个具有特定“声音规则”的空间，通过实际实验改变这些规则。 4. **乐谱、音乐传播与公共空间**：探索实验性实践与乐谱之间的关系，考察声音在城市和乡村空间中的使用和理解。 5. **项目：抹去空间的声音**：邀请学习者通过多种可能策略“抹去空间中的声音”。 6. **倾听实践、全球形式与网络声音**：概述不同倾听方法和“世界音乐”概念的演变，探讨网络、广播等平台上的声学体验和音乐实验。 7. **项目：实验故障**：要求学习者进行媒体和技术故障的实验。 8. **开放项目**：可选模块，供有意将所学应用于更开放和宏大的最终项目的学习者进行创作。 对于该系列的其他课程或语言版本，请在Coursera目录中搜索“MOOC的艺术”。
Name:Introduction & Analytical Concepts
Description: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.
Name:Elements of Sound and Social Practices
Description: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.
Name:Project: Playing with Sound Rules
Description: 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.
Name:NOTATION, HOW MUSIC TRAVELS & PUBLIC SPACE
Description: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.
Name:Project: Erase the Sound of a Space
Description:The practical component is optional, inviting learners to ‘erase a sound in space’ through a range of possible strategies.
Name:LISTENING AS PRACTICE, GLOBAL FORMS & THE SOUND OF THE NET
Description: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.
Name:Project: Experiment with Failure
Description:The practical component of this module is optional, asking learners to produce their own experiment with media and technical failure.
Name:Open Project
Description: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.
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. Also included are guest presentations from key thinkers and practitioners, like: Christopher DeLaurenti, Jen Delos Reyes, Tina Haver Currin, Quran Karriem, Christina Kubisch, Thomas Kusitzky, Scott Lindroth, Mark Anthony Neal, Bill Seaman, and John Supko. As the ‘ART of the MOOC’ title implies, learners and participants are encouraged to treat the MOOC itself as a public art medium. This happens mostly through the course’s optional practical components, local project productions, global exchanges, and critical feedback. While no prior sound production or musical experience is required, projects also offer challenging options for advanced learners. For other course offerings or language versions in this series, just search 'ART of the MOOC' in the Coursera catalog.
