Projects
Project 1 “Aural Pictures”
Create a two to four minute sound composition that captures the unique
sonic environment of a particular place rich enough to allow a listener
to imagine him- or herself in it. Consider how the piece unfolds
over time and, although this is not necessarily a narrative work, there
should be a sense of rising and falling tension to propel the composition
forward. Include one or two “soundmarks” to anchor in
your piece and help to tie together the soundscape as you build it. You
must include both a stereo sound “field” and sampled sound
in your three-track (minimum) composition. Download
(pdf): Project 1 guidelines
Student Work (mp3): Aaron Alley, Zach Bean, Drew Fulton (excerpt), Chris Fumerola, Payton List, Jason Zenz
Project 2 “Audiovisual Dissonance”
Create a two to four minute video based on a written text in which you use
sound to undercut, complicate, activate, or detourne your images(s). You
should have several major sync points where your image, text, and sound
all converge meaningfully, but they may be only loosely related at other
times. In at least one point in your video, replace the natural sound
from the video with something more expressive. Overall, the sound
and image should be in dissonant but meaningful relationship with one another
that in some way illustrates, expands, or comments on the text you chose. Download
(pdf): Project 2 guidelines
Student Work (Quicktime 7): Zach Bean, Drew Fulton, Roger Mohn, Robyn Reeves, Jason Zenz
Project 3 ”The Subordinate Eye”
create a video of at least one minute that is “carried” by a
highly elaborated sound composition while the image is obscured or secondary.
Your stereo sound composition should somehow address the tension between
sounds of embodiment—breath, yawns, lips smacking, etc.—and
the clear, disembodied voice and should include at least one sound element
that is highly manipulated and used for its sonic or associative properties,
rather than its descriptive ones. Download (pdf): Project 3 guidelines
Student Work (Quicktime 7): Zach Bean, Jeeves Dean, Drew Fulton, Payton List, Jason Zenz
Audiovisual Analysis Paper (CP 470 ONLY)
Using Michel Chion’s article on audiovisual analysis as
your guide, write a 3-5 page essay than analyzes the sound and image relation
in one sequence or scene from one of the films listed.
Download (pdf): Paper guidelines; handout
shot-by-shot analysis
Student work (pdf): Drew Fulton, Jason Zenz
Written Homework
Written homework should be completed in the week in which it is assigned and either handwritten or typed and placed in the sound journal. The assignments are necessary for strong in-class participation and will be graded at the end of the semester as part of the sound journal.
January 23: Daily sound journal entries for the next week; refer to rthe University of Oregon's resource page
February 1: Reaction paper to Elephant. In what way does Van Sant tell the story of the high school through sound? How does his use of Hildegard Westerkamp’s sound art work within the film?
February 8: What would you do differently if you could do the first project over again?
February 13: Playtime reaction paper. How did Tati’s use of sound reinforce the film’s themes?
March 6: Critically reflect on your performance in class to date. What have you excelled at? In what areas might you improve in the second half of the semester? Come up with a concrete plan or steps to take to improve process or product for the remaining half of the semester.
April 5: Reaction to either La Jetee or A Man Escaped
April 24: What is your opinion of copyright law? Why do you hold that opinion? How do you, as a creator, navigate the complicated terrain of copyright, appropriation, fair use and outright stealing?
Technical Homework
These assignments are designed to help you practice sound recording and mixing skills. These will be due the days indicated and should be uploaded to your folder within “To Turn In” folder on the class server. These should be named according to the following conventions: yourlastname_homework01.aif. We will go over uploading to the server in the first week of class.
January 30: Five minutes of “good” soundscape recording, with notes in sound journals as to place/conditions and technique.
February 1: Record 4-5 clean samples of individual sounds.
February 27: Record a vocal track direct to computer. Use Audiosuite plug-ins to improve the sound, and layer over ambient AND add either musical elements or isolated sound samples, balancing the levels. Your finished piece should be one minute.
Due March 8: Create a videorecording of closeup of a simple human action. Sample a sound and record an ambience that contrasts strongly but meaningfully with the action. In Final Cut, replace the sound of the video with your recorded sound. Export as a one-minute Quicktime movie.
April 10: Replace sound from provided 30-second clip of “ethnicity” on film with foley effects that undercut, complicate, or comment on the racial or ethnic stereotypes produced by the original sounds. Export as Quicktime.
Image: Still from Sonic Outlaws, Craig Baldwin, 1995