Module Information
Course Delivery
Delivery Type | Delivery length / details |
---|---|
Lecture | 11 x 2 Hour Lectures |
Assessment
Assessment Type | Assessment length / details | Proportion |
---|---|---|
Semester Assessment | Case study essay 2,000 words 2 x case studies on artists or topics discussed in the first half of the module | 50% |
Semester Assessment | Powerpoint Audio-visual essay 2,500 words (a combination of written and spoken text), not including citations, endnotes, and bibliography; and at least 20 slides. This will be presented at the end of the module. | 50% |
Supplementary Assessment | Resit case study essay | 50% |
Supplementary Assessment | Resit audio-visual essay | 50% |
Learning Outcomes
On successful completion of this module students should be able to:
1. understand the historical development of sound art from ancient times to the present day, including specific case studies and examples;
2. understand a broad range of interrelationships between image- and sound-based practices and methodologies, and of some of the fundamental theoretical and historical apparatus required to comprehend them;
3. comprehend and articulate, the issues and practicalities related to textual interpretation and curatorial management of sound-artworks;
4. possess practical skills in sound and image software such as to facilitate techniques in presenting art-sound historical study.
Brief description
Content
1. Light > Colour > Sound > Light: From Newton to Goethe to Kandinsky to Scriabin
2. Print-making-waves: Photography, Phonography, and the Visualization of Sound
3. The Artist and the Talking Dead: Jürgenson and Electronic Voice Phenomenon
4. The Rise of the Machine: Futurism and the Industrial Soundscape
5. Still-life with Violin: Real-World Synthesis from Synthetic Cubism to Musique Concrète
6. The Artist Sings: Chance and Indeterminacy from Duchamp to Cage
7. The Composer Draws: From Schoenberg to Cage
8. The Painter Dances: Abstraction and Jazz from Mondrian to Pollock
9. Make Something Up!: Improvisation in Art and Music
10. FluxOff: Intermediality and Protest since the 1960s
11. Image and Sound: The Case of Cinema
12. Image or Sound: The Written Word in Art; the Spoken Word in Music
13. Rock Art: Musicians in British Arts Schools since the 1960s
14. Album Art: Visualizing Popular Music from Rock n’ Roll to Punk
15. Box with the Sound of its Own Making: From Minimalism to Neo-Conceptualism in Art and Music
16. Sound with the Box of its Own Making: Sculpture, Space, and Sonic Materialism
17. Sound in Space: The Acoustics of Architecture (Sacred and Secular)
18. Noisy Art Historians: The Sonorities of the Object, Place, and Time
19. Quiet Bell: Seeing Silence in Millet’s The Angelus (1857-9)
20. ‘Hearing is Another Form of Seeing’: Theories of Aural and Visual Perception
SEMINARS:
1. DIY: Art and Sound in the Digital Age
2. Duchamp Sings: An Analysis of Musical Erratum (1913)
3. Silent Pictures: Signifying Sound through Visual Art
4. Electric Lady: Women Sound-Art Performers
PRACTICAL/WORKSHOP:
1. Using PowerPoint and Audacity Software
Module Skills
Skills Type | Skills details |
---|---|
Application of Number | |
Communication | Through essay and examination writing. |
Improving own Learning and Performance | |
Information Technology | Software skills in Audacity and PowerPoint, and in the development of multi-media presentation. |
Personal Development and Career planning | |
Problem solving | |
Research skills | Essay preparation, library catalogue searches, and internet video/audio scoping. |
Subject Specific Skills | None of the students will have prior experience in studying art and sound together and historically. Therefore, they will be developing specific inter-subject relational skills, which will be assessed in the context of the essay. |
Team work |
Notes
This module is at CQFW Level 5