voice & sonic environments

EDPx3520 / EDPx4520
Spring Quarter 2014
Professor: Trace Reddell, PhD
Tues/Thur 3:00-5:50pm | Sturm 434 + Hypercube
Office Hours:  Thursday 2:00-2:50pm and by appt.
Office: Sturm 216B
Contact: treddell@du.edu

This EDP class will introduce techniques and technologies for students seeking to incorporate into their various practices environmental field recording, multi-channel sound design, interactive components for sound and voice in installations, and/or sound-based performance. Students will be expected to develop their own practices integrating deep listening and digitally mediated vocal expression within the 21st century sonic environment, using the technologies of their choice. Prior sound editing experience recommended. The class will cover field recordings, writing for spoken word, and a range of software for solitary production, collaboration, real-time interactions, and performance. (4.000 Credit hours)

Pauline Oliveros, Deep Listening: A Composer's Sound Practice (2005)
William S. Burroughs, Electronic Revolution (1970)


PHASE One: Sonic Environments
In the studio and out in the field, we will explore the sonic environment through the program of deep listening exercises and scores included in Pauline Oliveros's Deep Listening: A Composer's Sound Practice (2005). We will consider ways to digitize some of Oliveros's meditative compositions. We will conduct a number of sound excursions and field recordings, guided in part by the artistic practices of Francisco Lopez, Hildegard Westerkamp, Annea Lockwood, and Janet Cardiff.

Week 1
Tues, March 25: Introductions / deep listening (Pauline Oliveros)
Thur, March 27: deep listening (Pauline Oliveros) / field recording (Annea Lockwood) / (Barry Truax)
Annea Lockwood interview

Week 2
Tues, April 01: deep listening (Pauline Oliveros)
Thur, April 03: deep listening (Pauline Oliveros) / subtle listening (Kim Cascone) / field recording (Francisco López)
http://www.lacunamusic.org/kim-cascone-subtle-listening/ (post by Paul McNees)
http://www.franciscolopez.net/env.html or http://www.franciscolopez.net/pdf/env.pdf

Week 3
Tues, April 08: deep listening (Pauline Oliveros) / sound walk (Hildegard Westerkamp) / (Situationists)

Thur, April 10: playback and manipulation

PHASE Two: Voice
We will also consider the role of voice in the contemporary soundscape, beginning with William S. Burroughs' manual of media interventions and sound experiments, Electronic Revolution (1970). The class will include surveys of contemporary sound art practices, as well as a history and heritage of artists, writers and performers in this field and who include Hunter S. Thompson, Laurie Anderson, Scott Walker, The Spaceape, and others.

Week 4
Tues, April 15: spoken word (Spaceape)
Thur, April 17: spoken word & real-time exercises (William S. Burroughs) / (Hunter S. Thompson)

Week 5
Tues, April 22: spoken word & real-time exercises (Laurie Anderson) / (Scott Walker)
Thur, April 24: playback and manipulation

PHASE Three: Voice & Sonic Environments
This remaining portion of the class will be devoted to your own synthesis of "voice" and "sonic environments" work, both solo and collaborative.

Week 6
Tues, April 29: (Janet Cardiff) / (Duncan Speakman)

Thur, May 01: (Hildegard Westerkamp) / (Yolande Harris)

Week 7
Tues, May 06: student-led sessions
Thur, May 08: student-led sessions

Week 8
Tues, May 13: project workshops
Thur, May 15: project workshops

Week 9
Tues, May 20: final project event
Thur, May 22: final project event

Week 10
Tues, May 27: review, critique and wrap-up
Thur, May 29: review, critique and wrap-up

Final: Tues, June 03