Audio I

Code:

AD201

Acronym:

AD

Keywords
Classification	Keyword
OFICIAL	Fine Arts

Instance: 2015/2016 - 2S

Active?	Yes
Responsible unit:	Fine Arts Department
Course/CS Responsible:	Fine Arts

Cycles of Study/Courses

Acronym	No. of Students	Study Plan	Curricular Years	Credits UCN	Credits ECTS	Contact hours	Total Time
AP	28	Official Study Plan 2011	2	-	4,5	64	121,5
			3
			4

Teaching language

Portuguese

Objectives

Introduction to sound language in the fields of matter, plasticity and spatiality.
Study of the sound plasticity.
Study of sound work as an artistic practice.
Technological and workshop introduction, the essential foundation for this practice.
Acquisition of theoretical knowledge, in conjunction with field work and studio, allowing the inclusion of this artistic practice in contemporary context.
Understanding the basics of acoustics.
Understanding and implementation of mechanisms and fundamental aspects of the recording / capture and playback of digital sound.
Development of individual and collective instruments of analysis and reflection on the work done.
Creating extended habits and working methods, and its valuation with the experimentation.

Learning outcomes and competences

As a result of learning based on exercises developed during the semester, it is intended that students acquire basic skills in sound arts, knowledge integration, project management and content production.

Working method

Presencial

Program

The discipline of audio I will be dedicated to the introduction to the technique, theoretical and technological learning in the sound medium, with particular emphasis on recording and reproduction of sound and their use in the contexts of artistic practices. Principles of digital audio recording will be studied and tested various methods for capturing and recording sound and their subsequent modeling and diffusion.

The plasticity of sound will be studied:
- Object
- Structure
- Space

Will also be studied:
The language-specific sound in plastic production.
The surround-sound and captured: similarities and differences
Appropriation-interpretations of the sounds.
Mechanisms of diffusion of sound in space.

Mandatory literature

White, Glenn D.; Louie, Gary J.; The Audio Dictionary, University of Washigton Press, 2005. ISBN: 0-295-98498-8
Wishart, Trevor; On Sonic Art, Routledge, 1996. ISBN: 978-3-7186-5846-6
Kahn, Douglas; Noise, Water, Meat: A History of Sound in the Arts, The MIT Press, 1999. ISBN: 0-262-11243-4
Wishart, Trevor; On Sonic Art, Routledge, 1996. ISBN: 978-3-7186-5846-6
Chion, Michel; Audio-Vision: Sounds on Screen, Columbia University Press, 1994. ISBN: 0-231-07899-4
White, Glenn D.; Louie, Gary J.; The Audio Dictionary, University of Washigton Press, 2005. ISBN: 0-295-98498-8

Complementary Bibliography

LaBelle, Brandon; Roden, Steve; Site of Sound: Of Architecture & The Ear, Errant Bodies Press, 2002. ISBN: 0-9655570-2-2
Prendergast, Mark; The Ambient Century: From Mahler to trance – The evolution of sound in the electronic age, Bloomsbury Publishing, 2000. ISBN: 0-7475-4213-9
Addis, Laird; Of Mind & Music, Cornell University Press, 1999. ISBN: 0-8014-3589-7
Manning, Peter; Electronic And Computer Music, Oxford University Press, 2004. ISBN: 0-19-517085-7
Cage, John; Silence: Lectures and writings by John Cage, Wesleyan University Press, 1973. ISBN: 0-8195-6028-6
Katz, Bob; Mastering Audio: The Art And The Science, Focal Press, 2002. ISBN: 0-240-80545-3
Young, Rob; Undercurrents: The Hidden wiring of Modern Music, Continuum, 2003. ISBN: 0-8264-6450-5
Addis, Laird; Of Mind & Music, Cornell University Press, 1999. ISBN: 0-8014-3589-7
Manning, Peter; Electronic And Computer Music, Oxford University Press, 2004. ISBN: 0-19-517085-7
Cage, John; Silence: Lectures and writings by John Cage, Wesleyan University Press, 1973. ISBN: 0-8195-6028-6
Kittler, Friedrich A.; Gramophone, Film, Typewriter, Stanford University Press, 1999. ISBN: 0-8047-3232-7
Katz, Bob; Mastering Audio: The Art And The Science, Focal Press, 2002. ISBN: 0-240-80545-3
Roads, Curtis; Microsound, The MIT Press, 2001. ISBN: 0-262-18215-7
Sloboda, John A.; Generative Processes in Music: The Psychology of Performance, Improvisation and Composition, Oxford University Press, 2000. ISBN: 0-19-850846-8
Addis, Laird; Of Mind & Music, Cornell University Press, 1999. ISBN: 0-8014-3589-7
Kittler, Friedrich A.; Gramophone, Film, Typewriter, Stanford University Press, 1999. ISBN: 0-8047-3232-7
Katz, Bob; Mastering Audio: The Art And The Science, Focal Press, 2002. ISBN: 0-240-80545-3
Chion, Michel; The Voice in Cinema, Columbia University Press, 1999. ISBN: 0-231-10823-0

Teaching methods and learning activities

The course will be developed in accordance with a theoretical and practical model that alternate training classes, lectures and discussion and listening classes aim to develop exercises and projects, undertaken by individuals or workgroups.

Software

Audacity

Evaluation Type

Distributed evaluation without final exam

Assessment Components

Designation	Weight (%)
Participação presencial	20,00
Trabalho de campo	30,00
Trabalho laboratorial	50,00
Total:	100,00

Eligibility for exams

Positive average rating in developed exercises and other evaluation parameters.

Calculation formula of final grade

Acquired knowledge, demonstrated by solving and applied to projects being developed will be evaluated.
Will evaluate the conceptual component, project-carrying capability and suitability of the acquired knowledge for the effective resolution of specific problems.
Attendance, integrity and accountability of students, face the class, projects, and compliance with the deadlines associated with these will be assessed.