Class Syllabus

Syllabus for Roster(s):

Sound Studies (MUSI 2559, Fall 2016)

MUSI 2559 – Sound Studies: Anthropology and the Art of Sound Experience

Fall 2016

Mon Wed 10:00 – 10:50 (+ discussion section)

Old Cabell Hall B012

Course instructor:

Noel Lobley, Assistant Professor of Music (Critical and Comparative Studies)

Contact: noel.lobley@virginia.edu

Office hours: Wednesdays 14:30 – 16:30 (or by appt.), Wilson 109 (434-297-6987)

Discussion section leader:

Caitlin Flay (PhD Candidate, Critical and Comparative Studies)

Contact: cf2pc@virginia.edu

SYLLABUS SUBJECT TO REVISION

Definitive version always on Collab

Course description:

In this new course we combine approaches from musicology, anthropology, and sound studies in order to explore and experience music, sound and artistic practice in their human (and non-human) behavioural contexts. What are the creative, ethical and social dimensions of sound art? What does music composed through animal dreams sound like? How do we imagine and hear the sounds of underwater and atmospheric anthropology? How do sound art, technology and design transform urban space and everyday social and political experience? In answering these and other questions, we investigate local and global sound cultures and trace the ways in which their sounds are sampled, remixed and circulated.

No prior musical experience is required.

Thematic Course Questions

Through a wide-ranging variety of literature, case studies, and audio-visual sources our course will address the following three broad thematic areas of investigation:

Course questions  

• How can sound be studied?

• What and how does sound communicate?

• What histories and futures can sound enlighten?

Overview of Topics

I. Sound, Listening, Noise and Silence

Week 1: Welcome and introduction: why study sound?
Week 2: What is deep listening?
Week 3: Who makes noise and can anyone hear silence?

II. Sound Histories

Week 4: Sonic archaeology and how to dig for ancient sounds
Week 5: Writing and Painting Sound: literature and the sounds of other stories
Week 6: Salvaged Sound: recording, reproducing, amplifying, and remixing

III. Anthropologies of Sound

Week 7: Sound signals in cities, hospitals, cars and warfare
Week 8: Global sound sources: music from water, wind and trees
Week 9: The sounds of inter-species music making

IV. Sound and the Arts

Week 10: Sonic art: how does art sound?
Week 11: Moving sound: sound galleries and sound walks
Week 12: Vibrations and resonance: immersive sound experiences

V. Sonic Spaces, Sounding Environments

Week 13: Sonic architects: how do spaces speak?
Week 14: Sound online: the internet and revolutionary listening
Week 15: Soundscape ecology: what does climate change sound like?

The Return and Onwards

Week 16: What is future sound studies?

COURSE MATERIALS

During the semester, we will read and be guided by the following key texts, some of which are available in full online, and all will remain on reserve at the Music library in Old Cabell Hall. I can also order copies of books to buy at the Bookstore according to demand.

Key Books (on reserve at the music library for 3 hour loans)

Bull, M. & L. Back (eds.). 2015. The Auditory Culture Reader (second edition). Oxford & New York: Berg.

Erlmann, V. 2004. Hearing Cultures: Essays on Sound, Listening and Modernity. Oxford & New York: Berg.

Miller, Paul D. 2008. Sound Unbound: Sampling Digital Music and Culture. Cambridge, Massachusetts & London: The MIT Press.

Novak, D. & M. Sakakeeny (eds.) 2016. Keywords in Sound. Durham, NC.: Duke University Press.

Pinch, T. & K. Bijsterveld (eds.). 2016. The Oxford Handbook of Sound Studies. Oxford: University Press.

Smith, M. (ed.). 2004. Hearing History: A Reader. Athens, Georgia & London: The University of Georgia Press.

Sterne, J. (ed.). 2012. The Sound Studies Reader. London & New York: London.

Available Online

Halliday, S. 2013. Sonic Modernity: representing sound in literature, culture and the arts. Oxford: University of Oxford Press.

Mills, S. 2014. Auditory Archaeology: understanding sound and hearing in the past. Walnut Creek, California : Left Coast Press, Inc.

Voegelin, S. 2010. Listening to Noise and Silence: towards a philosophy of sound art. New York: Continuum.

Most other reading, listening and viewing materials will be available online, and there is also a short extra general bibliography at the end of the syllabus. Wherever possible I have uploaded PDFs of relevant chapters or articles to the ‘resources section’ in our Collab site.

Useful Journals

Journal of Sonic Studies

http://sonicstudies.org/

Organized Sound

http://journals.cambridge.org/action/displayJournal?jid=OSO

Sound Studies: an interdisciplinary journal

http://www.tandfonline.com/toc/rfso20/current

Useful Websites and Blogs

Bleep

https://bleep.com

FACT Magazine

http://www.factmag.com

Resident Advisor

http://www.residentadvisor.net

Sounding Out!

https://soundstudiesblog.com/

The Wire

http://www.thewire.co.uk

Assessments

This semester we will complete three assignments in a range of creative formats: [(i) a deep listening journal, and (ii) a curated sound presentation, plus a final project built around your own preferred topics and interests.

The first two assignments should be approximately 1500-2000 words in length. For the final project (approx. 3000 words, depending on the chosen format) you will be asked to identify a specific topic/ idea/ series of case studies that will enable you to explore some of the major themes of our course.

Please discuss your ideas for your final paper with me during early November – I will schedule short one to one meetings so we can update on progress and plan ahead individually and collectively. I encourage you all to propose possible alternative creative formats for your final paper, which need not be, but also certainly can be, a standard written paper. Collaborations with other students, for example, are always welcomed.

Course work will be assessed on the following basis:

30% Participation (including attendance, timeliness of submissions, and overall engagement)

30% Written assessments count as 15% each [(i) a deep listening journal, and (ii) a curated sound presentation]

40% Final project broadly addressing the question ‘what and how does sound music communicate?’ [due in the last week of the semester]

Key Assessment Deadlines

1. First Written Assignment [Week 5]: a deep listening journal entry on an identified sound object, event, walk or moment – due by 17:00 Friday 23^rd September [Approximately 1500- 2000 words]

2. Second Assignment [Week 10]: a curated sound presentation – due by 17:00 Friday 28^th October [Approximately 2000 words, depending on format.]

3. Third Written Assignment [Week 16]: Final Paper or project broadly answering the question ‘What and how does sound communicate?’ – due by 17:00 Friday 9^thDecember [Approximately 3000 words, depending on the format]

Course attendance and participation

As this course is seminar-sized, participation in class discussions will be particularly important. Attendance and respectful participation are expected. More than two unexcused absences from class will adversely affect the final grade.

Course policies

No late assignments will be accepted without very good reason. It is always best to advise me in advance if you anticipate any problems meeting deadlines.

Please remember to turn off all cell phones during class.
In general, no emailing or social media use is allowed during class. However, in most seminars I will invite us all to conduct brief research in class using our devices.

Honor

I trust every student in this course to comply with all of the provisions of the UVA honor system. You must pledge and sign your three written assignments. Your signature on the papers affirms that they represent your original work, and that any sources you have quoted, paraphrased, or used extensively in preparing the paper have been properly credited in the footnotes or bibliography.

COURSE OUTLINE

I. SOUND AND LISTENING

Week 1 : Welcome and introduction

Class 1: Wednesday 24^th August

Introduction – Scope of the course: what is sound studies?

Key questions:

i. Why study sound?

ii. What methods can we use to study sound?

iii. What, how and where does sound communicate?

You Tube Playlist for Class 1

https://www.youtube.com/playlist?list=PLuoiSwM3103TulcPUtjEa9IJa5EC-Wxt6

Week 2: What is deep listening?

Classes 2-3: Monday 29^th & Wednesday 31^st August

Key Questions:

i. What is the difference between hearing and listening?

ii. Who is Pauline Oliveros?

iii. What makes deep listening?

Key Resources:

Oliveros, P. 2016. ‘A giant of the avant-garde shows us how to listen’, Resident Advisor Exchange Podcast - EX293 (17^th March 2016)

https://www.residentadvisor.net/podcast-episode.aspx?exchange=293

Oliveros, P. 2015. ‘The difference between hearing and listening’, (TEDxIndianapolis, November 2015)

https://www.youtube.com/watch?v=_QHfOuRrJB8

Oliveros, P. 2011. ‘Auralizing in the Sonosphere: a vocabulary for inner sound and sounding’, Journal of Visual Culture 10(20): 162-8

Oliveros, P. 1993. ‘The Earth Worm Also Sings: a composer's practice of Deep Listening’, Leonardo Music Journal 3: 35-38

http://paulineoliveros.us/

http://deeplistening.org

You Tube Playlist for Class 2

https://www.youtube.com/playlist?list=PLuoiSwM3103S8Ealv4orx9Crn4cKiszrf

You Tube Playlist for Class 3

https://www.youtube.com/playlist?list=PLuoiSwM3103RS4sbOKMYgBPMhCYdCO8oP

Week 3: Who makes noise and can anyone hear silence?

Class 4-5: Monday 5^th & Wednesday 7^th September

Key Questions:

1. Where does noise come from?

2. Can noise and silence be composed?

3. Where is silence?

Required Reading:

Voegelin, S. 2010. Listening to Noise and Silence: towards a philosophy of sound art. New York: Continuum. [available online via Virgo]

[Ch. 2 ‘Noise’ (pp. 41-76) and Chapter 3 ‘Silence’ (pp. 77- 121)

You Tube Playlist for Class 4

https://www.youtube.com/playlist?list=PLuoiSwM3103QsYmYgEU-Xgem0OcvRkX55

You Tube Playlist for Class 5

https://www.youtube.com/playlist?list=PLuoiSwM3103S5lq8oux_l1Ldx55VfR-wz

II. SOUND HISTORIES

Week 4: Sonic Archaeology and how to dig for ancient sounds

Classes 6-7: Monday 12^th & Wednesday 14^th September

Key questions:

1. How can we listen to the sounds of ancient spaces?

2. Why do we listen to the past?

3. What is auditory archaeology?

Required Reading:

Blesser, B. & L. Salter, 2012. ‘Ancient acoustic spaces’, in J. Sterne (ed.) The Sound Studies Reader. London & New York: London: 186-196.

Mills, S. 2014. Auditory Archaeology: understanding sound and hearing in the past. Walnut Creek, California : Left Coast Press, Inc.

[Available online via Virgo].

[Ch. 1 ‘Introduction to Auditory Archaeology’ (pp. 16-26) & Ch.4 ‘Studies of Sound in (Pre) history’ (pp. 53-74)

Till, R. 2014. ‘Sound archaeology: terminology, Palaeolithic cave art and the soundscape’ in World Archaeology 46 (3): 292-304 [Available online via Virgo]

You Tube Playlist for Class 6

https://www.youtube.com/playlist?list=PLuoiSwM3103TDCVNEdg3CjoWO9_VRgq3r

You Tube Playlist for Class 7

https://www.youtube.com/playlist?list=PLuoiSwM3103Ts_jqom-c0FptIPrYASt7A

Week 5: Writing and Painting Sound: literature and the sounds of other stories

Classes 8-9: Monday 19^th & Wednesday 21^st September

Key questions:

1. What does literature sound like?

2. What do paintings sound like?

3. Can we see sound?

Required Reading:

Halliday, S. 2013. Sonic Modernity: representing sound in literature, culture and the arts. Oxford: University Press.

[‘Introduction – the sonic cultures of modernity’ & Ch. 1 – ‘Theorising Sound and Listening’]

Picker, J. 2003. Victorian Soundscapes. Oxford: University Press. [Available online via Virgo]

[‘Introduction: The Tramp of a Fly’s Footsteps’ (pp. 3-14)]

Toop, D. 2010. Sinister Resonance: The Mediumship of the Listener. London: Continuum.

[Prelude, plus ‘Part 1: Aeriel – Notes Toward a History of Listening’ (pp. 1-63)]

You Tube Playlist for Class 8

https://www.youtube.com/playlist?list=PLuoiSwM3103SoYQ1e_7tw5xNyyzzLwXIp

You Tube Playlist for Class 9

https://www.youtube.com/playlist?list=PLuoiSwM3103S3sLI99SfWPN2UaOAk-7KH

Week 6: Salvaged Sound: Recording, reproducing, amplifying, and remixing

Classes 10-11: Monday 26^th & Wednesday 28th September

Key questions:

1. How can we capture sound?

2. How has recording changed listening and composition practices?

3. What does it mean to curate sound?

Required Reading:

Clarke, E. 2007. ‘The impact of recording on listening’ in Twentieth-Century Music 4(1): 47-70)

Pinch, T. & K. Bijsterveld (eds.). 2016. The Oxford Handbook of Sound Studies.

[Ch. 7 – ‘A Gray Box: the phonograph in laboratory experiments’ by Julia Kursell (pp. 176-197)]

Sterne, J. (ed.). 2012. The Sound Studies Reader. London & New York: London.

[Ch. 25 – ‘The Phonograph’s New Media Publics’ by Lisa Gitelman (pp. 283-303)]

You Tube Playlist for Class 10

https://www.youtube.com/playlist?list=PLuoiSwM3103RTIYS6H0XFvCOwvEdT2Bb-

You Tube Playlist for Class 11

https://www.youtube.com/playlist?list=PLuoiSwM3103QWrwNMVzNv5WdeAhy5n4Bv

III. ANTHROPOLOGIES OF SOUND

Week 7: Sound signals in cities, hospitals, cars and wars

Class 12: Wednesday 5^th October

Key questions:

1. How do we listen in and to cities?

2. What does it mean to listen to and with the body?

3. What are the soundscapes of war and terror?

Required Reading

Please take a look at at least two of the following articles on the sounds of industrialisation, the sounds of hospitals, and of warfare. PDFs are available in the resources section under Week 7

Pinch, T. & K. Bijsterveld (eds.). 2016. The Oxford Handbook of Sound Studies. Oxford: University Press.

- Schwartz, H. 2011. 'Inner and outer Sancta: Earplugs and Hospitals'

- Smith, M. 2011. 'The Garden in the Machine: listening to early American industrialization'

[There are several other articles in the Oxford Handbook of Sound Studies that are also very relevant, such as the other articles in the 'Reworking Machine Sound' section on cars etc]

and

Birdsall, C. 2012. Nazi Soundscapes: sound, technology and urban space in Germany 1933-1945. Amsterdam:
Amsterdam University Press.

[Read Chapter 3 'Mobilising Sound for the Nation at War' (pp. 103-139)]

You Tube Playlist for Class 12

https://www.youtube.com/playlist?list=PLuoiSwM3103TxnWNZK8PKoW4kASyMWFs2

Week 8: Global sound sources: music from water, wind and trees

Classes 13-14: Monday 10^th & Wednesday 12^th October

Key questions:

1. Who composes with water?

2. Can the wind sing?

3. How do forests think and sound?

On Monday we will think through the relationships between water, music, and sound (Q1). Please read:

Pinch, T. & K. Bijsterveld (eds.). 2016. The Oxford Handbook of Sound Studies. Oxford: University Press.

- please read 'Underwater Music: tuning composition to the sounds of science' by Stefan Helmreich

[The PDF is in our resources section on Collab, and The Oxford Handbook of Sound Studies is all available online via Virgo]

Kahn, Douglas. 2001. Noise, Water, Meat: a history sound in the arts. Cambridge, Ma.: The MIT Press.

- please read 'Ch. 9. A Short Art History of Water Sound' (pp. 242-259)

[The PDF is in our resources section on Collab, and whole book is available online via Virgo]

On Wednesday we will think through the relationships between forests, wind and sound (Qs 2 & 3). Please read:

Roseman, M. 2007. 'Blowing "cross the crest of Mount Galeng": winds of the voice, winds of the spirits', Journal of the Royal Anthropological Institute 13(S55-S69)

[The PDF is in our resources section on Collab]

You Tube Playlist for Class 13

https://www.youtube.com/playlist?list=PLuoiSwM3103TgPr8o2mCj4-MpFl25L4OC

You Tube Playlist for Class 14

https://www.youtube.com/playlist?list=PLuoiSwM3103RIHUC2fGO_a2egGDPyv1w9

Week 9: The sounds of inter-species music making

Classes 15-16: Monday 17^th & Wednesday 19^th October

Key questions:

1. Why do birds sing?

2. What are whale songs?

3. Did insects give us rhythm?

Required Preparation

No advance reading is required this week. Please focus on planning for your second assignment by revising our class PowerPoints, your notes, our You Tube Playlists, and the questions in the syllabus and in PowerPoints.

You Tube Playlist for Class 15

https://www.youtube.com/playlist?list=PLuoiSwM3103TqQqdI-sxXBhJfbiZdSMHp

You Tube Playlist for Class 16

https://www.youtube.com/playlist?list=PLuoiSwM3103QS-nfmiSlUugkhk7tLj9Bo

IV. SOUND AND THE ARTS

Week 10: Sonic art: how does art sound?

Classes 17-18: Monday 24^th & Wednesday 26^th October

Key questions:

1. What is sound art?

2. Where is sound art?

3. How can we curate sound art?

Required Preparation for Class 17

Please read this short article:

Licht, A. 2008. 'Sound Art: origins, developments, ambiguities', Organised Sound 14(1): 3-10.

[Available online via Virgo, and the PDF is in 'Resources' under Week 10].

Required Preparation for Class 18

Please read at least one of these two short sections from Kahn, Douglas. 2001. Noise, Water, Meat: a history of sound in the arts. Cambridge, Ma.: The MIT Press.

'Introduction' (pp. 2-19)

'Ch.4. The Sound of Music' (pp. 101-122)

[The whole book is available online via Virgo, and PDFs of these two sections are in 'Resources' under Week 10]

You Tube Playlist for Class 17

https://www.youtube.com/playlist?list=PLuoiSwM3103SMboxOWVCOvdMVMTi40e7a

You Tube Playlist for Class 18

https://www.youtube.com/playlist?list=PLuoiSwM3103RWdo9QDTz_88Gd6elVaGYH

Week 11: Moving sound: sound in galleries and sound on walks

Classes 19-20: Monday 31^st October & Wednesday 2nd November

Key questions:

1. What is phonography?

2. What does sound do in museums and galleries?

3. Who creates and compose sound walks? Why?

Required Preparation

Please familiarise yourself with at least two of the three articles I have uploaded to Collab resources:

Baker, S., Istvandity, L. & Nowak, R. 2016. 'The Sound of Music Heritage: curating popular music in music museums and exhibitions', International Journal of Heritage Studies 22(1)

and/ or

Bubaris, N. 2014. 'Sound in Museums - Museums in Sound', Museums Management and Curatorship 29(4)

and/ or

Turim, M. & Walsh, M. 2013. 'Sound Events: innovation in projection and installation', in J. Richardson, C. Gorbman & C. Vernallis (eds). The Oxford Handbook of New Audiovisual Aesthetics. Oxford & NY: Oxford University Press.

You Tube Playlist for Class 19

https://www.youtube.com/playlist?list=PLuoiSwM3103TtinNASm9h-jH0r1MPnCJ3

You Tube Playlist for Class 20

https://www.youtube.com/playlist?list=PLuoiSwM3103Qf9QmUllmzh7MmW7yFQ9U4

Week 12: Vibrations and resonance: immersive sound experiences

Classes 21-22: Monday 7^th & Wednesday 9^thNovember

Key questions:

1. How physical is sound?

2. What do the sounds of terror feel like?

3. Can sound heal?

Required Preparation

For Monday's class, can everyone please watch 'How to Truly Listen', a TED Talk given in 2007 by deaf musician Evelyn Glennie:

https://www.youtube.com/watch?v=IU3V6zNER4g&list=PLuoiSwM3103RNFNZdFBT-LzQ_LRpGeifM&index=1

For Wednesday's class, can everyone please read the following article:

Helmreich, S. 2007. 'An Anthropologist Underwater: immersive soundscapes, submarine cyborgs and transductive ethnography', American Ethnologist 34(4): 621-641. [PDF in Collab under 'resources']

And then for the first of our forthcoming weekly class presentation exercises, four of you will report back to the class on the following resources:

a) 'Touch the Sound', a documentary about Evelyn Glennie.

b) Kahn, D. 2013. Earth Sound Earth Signal: energies and earth magnitude in the arts. Berkeley, LA. & London: University of California Press.

Ch. 11. 'Sound of the Underground: Earthquakes, Nuclear Weaponry, and Music' (pp. 133-161) [Available online via Virgo and PDF in Collab under 'resources']

c) Helmreich 's 'An Anthropologist Underwater' article above

d) identification of further resources (videos, articles, podcasts, interviews etc) to enhance and develop the above resources.
**

For this coming week, we would like four people to volunteer to present to the class, and the four of you should meet briefly at some point after class on Monday to plan how to divide up the materials. Each person should focus on one of a)-d), and plan a way to share the presentation with our class on Wednesday during the second half of our class. We anticipate this taking 20-25 minutes with all four of you.

Presenters are welcome to manage the time in any way they see effective - you can plug in laptops, present to us in a circle in the room, invite us to think about questions, or anything else that seems like an effective mode of communication.

Please all take this opportunity to review the syllabus for the rest of semester and email us your preferred topic/ week (12-15). We would like you all to feel free to choose and will allot topics on a first come first served basis, but will have to assign weeks and topics on Monday if we have not received preferences by then.

You Tube Playlist for Class 21

https://www.youtube.com/playlist?list=PLuoiSwM3103RNFNZdFBT-LzQ_LRpGeifM

You Tube Playlist for Class 22

No separate playlist for today's class.

V. SONIC SPACES, SOUNDING ENVIRONMENTS

Week 13: Sonic architects: how do spaces speak?

Classes 23-24: Monday 14^th & Wednesday 16^thNovember

Key questions:

1. What is sonic architecture?

2. How do spaces speak?

3. Where is virtual sound?

[*** Please note that Class 23 on Monday 14th November will feature a special guest, Innocent Mvulayakata. Innocent is a broadcast journalist, ethnomusicologist and cultural researcher from Malawi and he has collaborated on the Beating Heart remix project already featured in class. ***]

Required Preparation for Class 24

Blesser, B. & Salter, L. 2009. Spaces Speak, Are you Listening. Cambridge, Ma.: MIT Press.

- please all read '1. Introduction to Aural Architecture' (pp. 1-9) [Available online via Virgo or as a PDF in Collab 'resources']

For our other resources this week, Mick and Robbie will offer us some observations from

Sterne, J. 1997. 'Sounds like the Mall of America: programmed music and the architectonics of commercial space', Ethnomusicology 41(1): 22-50. [Available online via Virgo or as a PDF in Collab 'resources']

and

Marx, N. & D. Kimball. 2008. 'An Interview with Emily Thompson', The Velvet Light Trap 62: 76-81.
[Available online via Virgo or as a PDF in Collab 'resources']

You Tube Playlist for Class 23

https://www.youtube.com/playlist?list=PLuoiSwM3103R1rBUgH_vs0Dst_V6OKWvS

You Tube Playlist for Class 24

No playlist for today [Student presentations]

Week 14: Sound online: the internet and revolutionary listening.

Class 25: Monday 21^st November

Key questions:

Has the internet revolutionised listening?
Is sound free?
Should we copyright sound?

Please can everyone read:

"The Man Who Broke the Music Business: the dawn of online piracy" by Stephen Witt (New Yorker, April 27 2015)

http://www.newyorker.com/magazine/2015/04/27/the-man-who-broke-the-music-business

And our other resources for Monday will be:

a) Krause, A. et al. 2014. 'The Uses and Gratifications of Using Facebook Music Listening Applications', Computers in Human Behaviour 39: 71-77. [Available Online via Virgo and as a PDF in Collab]

b) "Will Streaming Music Kill Songwriting?" by John Seabrook (New Yorker, February 8 2016)

http://www.newyorker.com/business/currency/will-streaming-music-kill-songwriting

c) Sterne, J. 2006. 'The MP3 as Cultural Artifact', New Media and Society 8(5): 825-842.
[Available Online via Virgo and as a PDF in Collab]

d) Other resources identified by one of our presenters.

Siham, Michelle, Lindsey and Jack will be our presenters for Monday, and each will present on one of a)-d) above.

You Tube Playlist for Class 25

https://www.youtube.com/playlist?list=PLuoiSwM3103SlHGdmDL7ytDXRS-1OP7hi

Week 15: Soundscape ecology: what does climate change sound like?

Classes 26-27: Monday 28^th& Wednesday 30th November

Key questions:

What is soundscape ecology?
How does place sound?
What makes sustainable sound environments?

Required Preparation

Before class on Monday 28th November please can everyone watch Bernie Krause's Ted Talk 'The Voice of the Natural World' (July 2013)

https://www.youtube.com/watch?v=uTbA-mxo858

Our Other Resources for Presenters on Wednesday Will Be:

a) Pijanowski, B. et al. 2011. 'What is Soundscape Ecology? An Introduction and Overview of an Emerging New Science', Landscape Ecology 26(9): 1213-1232. [Available Online via Virgo and as a PDF in Collab]

b) Farino, A. 2014. Soundscape Ecology: principles, patterns, methods and applications. Springer.

[Read 'Chapter 1 - 'Soundscape and Landscape Ecology' (pp. 1-28)]. [Available Online via Virgo and as a PDF in Collab]

c) Smith, J. & Pijanowski, B. 2014. 'Human and Policy Dimensions of Soundscape Ecology', Global Environmental Change 28: 63-74. [Available Online via Virgo and as a PDF in Collab]

d) Bernie Krause's lecture 'The Great Animal Orchestra', given at the California Academy of Sciences, 22nd September 2009
[via Fora TV]

http://library.fora.tv/2009/09/22/Dr_Bernie_Krause_The_Great_Animal_Orchestra#fullprogram

e) Other resources identified by one of our presenters.

Callie, Amy, Chris and Alec will be our presenters for Wednesday, and each will present on one of a)-d) above.

You Tube Playlist for Class 26

https://www.youtube.com/playlist?list=PLuoiSwM3103SVqRho-X4vhbCisqUwtd6q

You Tube Playlist for Class 27

No playlist [student presentations].

RETURN and ONWARDS

Week 16: Revision: what are future sound studies?

Class 28: Monday 5^th December

Key questions:

1. Why study sound?

2. How do we study sound?

3. What is the future for sound studies?

Required Preparation

Please can each group choose a short sound item to share that suggests or tells us all something about the histories and futures of sound studies. Please add to this document a URL or embedded link or similar by 7pm on Sunday with any context or thoughts or ideas written up. Your choice can be related to your final project, or simply something that you feel strongly about sharing. The guiding questions for us are:

1. Why study sound?

2. How do we study sound?

3. What is the future for sound studies?

I will watch the Google Doc take shape over the weekend and then create a structure for Monday’s class from it that helps guide your collaboration. I look forward to it all very much.

You Tube Playlist for Final Class (28)

https://www.youtube.com/playlist?list=PLuoiSwM3103ShunX1J6HRJ4-1ViKjh4y2

General Bibliography

Feld, S. & D. Brenneis. 2004. ‘Doing Anthropology in Sound,’ American Ethnologist 31: 461-74.

Goodman, S. 2010. Sonic Warfare: Sound, Affect, and the Ecology of Fear. Cambridge, Ma. & London: MIT Press.

Hegarty, P. 2007. Noise/ Music: a History. London: Continuum.

Hendy, D. 2013. Noise: A Human History of Sound and Listening. London: Pine Books. [Please also see the accompanying 30-part BBC4 Radio
Programme]

Kahn, D. 2013. Earth Sound, Earth Signal: energies and earth magnitude in the arts. Berkeley: University of California Press.

[Available online]

______ 1999. Noise, Water, Meat: A History of Sound in the Arts. Cambridge, Ma. & London: MIT Press.

Kassabian, A. 2013. Ubiquitous Listening; Affect, Attention and Distributed Subjectivity. Berkeley, Ca.: University of California Press.

Katz, M. 2004. Capturing Sound: How Technology Has Changed Music. Berkeley: University of California Press.

Rothenberg, D. 2013. 2013. Bug Music: How Insects Gave us Rhythm and Noise. New York: St. Martin’s Press.

–––––– 2008. Thousand Mile Song: Whale Music in a Sea of Sound. New York: Basic Books.

–––––– 2005. Why Birds Sing. New York & London: Allen Lane (an imprint of Penguin)

Sterne, J. 2012. MP3: The Meaning of a Format. Durham & London: Duke University Press.

_____ 2003. The Audible Past: Cultural Origins of Sound Reproduction. Durham & London: Duke University Press.

Thompson, E. 2002. The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900-1933. Cambridge, Ma. & London: The MIT Press.

Toop, D. 2005. Haunted Weather: Music, Silence and Memory. London: Serpent’s Tail.

–––––– 2001. Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds. London: Serpent’s Tail.

–––––– 1999. Exotica: Fabricated Soundscapes in a Real World. London: Serpent’s Tail.

Witt, S. 2015. How Music Got Free: the end of an industry, the turn of the century, and the patient zero of privacy. New York: Viking.

STUDENT LIFE

I will work hard to encourage a safe and equitable learning environment in this course. But, what happens in the classroom will be just one element of your experience at UVA this semester. Although I may not always be able to address your questions and concerns, I will certainly be able to guide you towards all necessary support and resources, so please do not hesitate to contact me about any issues that may be affecting your experience of this class.

Additional resources that are available to you:

Resources for Addressing Sexual Violence:

The University’s central site is: http://www.virginia.edu/sexualviolence/.

You can also contact the Office of the Dean of Students: 434- 924-7133 (or after hours and weekends call 434-924-7166 for the University Police Department; ask them to refer the issue to the Dean on Call)

Sexual Assault Resources Agency (SARA) hotline: 434-977-7273 (24/7)

Shelter for Help in Emergency (SHE) hotline: 434-293-8509 (24/7);

UVA Women's Center: 435-982-2361; and

Student Health (CAPS).

Resources for Addressing Racial Violence or Other Instances of Harassment or Discrimination:

http://www.virginia.edu/justreportit/.

You can also contact the Office of the Dean of Students: 434-924-7133 (or after hours and weekends call 434-924-7166 for the University Police Department; ask them to refer the issue to the Dean on Call); and Student Health (CAPS).

In addition, the Center for Teaching Excellence (formerly the Teaching Resource Center) has assembled a wide-ranging list of sites and offices that can help respond to both academic and non-academic concerns.

You can find it at: http://trc.virginia.edu/resources/support-for-uva-faculty-and-students/.

Finally, if you have any questions about academic integrity or what counts as plagiarism, please let me know. The Honor Code applies to all assignments for this course. The Library also offers helpful information at:

http://guides.lib.virginia.edu/content.php?pid=385908&sid=3162708

Music Department Community & Safety

Please see below for recommended actions to prevent and respond to violence involving students, faculty and staff in the department. These guidelines aim to promote safety, community and awareness amongst students in classes and ensembles, musicians and other members of the department.

Syllabi statement

The McIntire Department of Music is committed to providing a safe and equitable learning environment for all students, and holds the following two values as critically important:

1. Power-based personal violence will not be tolerated.

2. Everyone has a responsibility to do their part to maintain a safe community on Grounds.

Please know that as a faculty member, I support a safe and violence-free campus. If you or someone you know has been affected by power-based personal violence, more information can be found on the UVA Sexual Violence website, which describes reporting options and the many available resources. A link is given for reporting misconduct through the university’s Title IX process.

If you have concerns or questions about any aspect of this, you can approach any faculty or staff member of the music department, or any of these offices:

- ODOS Dean on Call: (434) 924-7166; DeanofStudents@virginia.edu

- CAPS (individual counseling) :

§ Day time – (434) 243-5150

§ After hours – (434) 972-7004

- SARA 24-hr Sexual Assault Hotline: (434) 977-7273

- University Women’s Center: (434) 982-2774 or sdvs@virginia.edu

- Campus Police à Call 911 for emergencies or (434) 924-8843

Reporting misconduct

- Misconduct includes any type of power-based personal violence and any type of sexual conduct and / or sexual intercourse that occurs without effective consent; misconduct includes intimate partner violence, domestic violence and stalking, as well as sexual harassment, defined as unwelcome verbal, written, physical or other conduct that is sex or gender-based and creates a hostile environment

The Gigging Musicians’ Guide to Getting Home Safely

Arrange how you’re getting home before you go

- Don’t wait and see if you can hitch a ride home, get in touch with the people you know who will be there and figure out a car pool! Don’t be shy; getting to know your fellow musicians may even turn out to be a great networking opportunity to line up future gigs!

- If you need to walk or take transportation after all, map out a route along the busiest streets where you are least likely to be alone.

On your way home: STAY ALERT

- Know what is going on around you, even in unfamiliar situations.

- If you’re walking or taking public transportation:

Stay awake

Don’t let yourself get lost in your phone or a book

- If your surroundings become unsafe, you need to be able to react quickly.

“Keep your cards close”!

- Keep your phone, wallet, laptop and any other valuables out of sight

- Take off any valuable jewelry before you leave and put them out of sight

- Wear instrument cases and other bags strapped as closely as possible to you

- If anyone asks you any questions, be polite but don’t give them any information that makes you look vulnerable and just keep walking or otherwise move away, for example:

“Where are you headed so quickly?”

“My friends are expecting me; have a good night!”

“What do you have in that big bag? Is that an instrument?”

“Too much stuff! Have a good night!”

Preventative measures

- Contact Buddies on Call to accompany you home after rehearsals, concerts and other evening events Thursday – Sunday: (434) 260 -0545

- Contact Campus Police for safe rides home: (434) 242-1122

- Safe Ride (434) 924-4225

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END OF SYLLABUS FOR MUSI 2559 (Fall 2016)