Sound Environments

Under the influence of new technological means, sound environments are evolving, as new ways of expression in the cultural field are penetrating society. Acoustic environments art’s object is the sound itself, beyond the limits of ‘music’ in its conventional meaning. It deals with sound as a multifaceted, dynamic spatial phenomenon and explores new means for forming and presenting sounds through various kinds of media. Therefore, acoustic environments art constitutes an experimental field of practical research, aiming at applying new acoustic technologies, as well as at exploring the role of sound as a cultural phenomenon in any given environment. Emphasis is placed on the analysis of the work of notable representatives of acoustic environments art and the realisation of relative practical exercises.

This course aims at the study of the acoustic environment and its correlation with the art of sound at a creative level. Through practical processes, an experiential learning is attempted, as far as the exploration of the environment is concerned, and its potential for being the basis for developing creative skills. This knowledge is also useful for other applications concerning sound creation and embodyment in different types of audio-visual content. Personal essays give students the opportunity to develop a personal style and artistic language, by being encouraged to choose their own techniques and expresiveness.

1st Week: Intoduction, module description, educational aims. Basic terminology, soundscape, acoustic ecology, soundscape composition.

2nd Week: Fundamental field recording techniques, soundscapes and sounding objects, discussion, field recording.

3rd Week: Listening and analysis of sounds recorded during class. Basic categorization of sounds through the prism of acoustic ecology (background-foreground, geophysical-biological-human sources, focused-non focused recordings). Recording of sounding objects in class.

4th Week: Nature and electroacoustic music: correlation of the language of electroacoustic music with sound shapes and sounding objects of the natural environment. Listening-examples.

5th Week: Sound diffusion in class, through multichannel loudspeaker system. Internal space of sound and its relation with the acoustic space of performance.

Practical signal routing (stereo to multi-speaker output) and performance in class.

6th Week: Soundwalk: introduction, discussion, applications. Practise-based soundwalk in the city environment, with recording in parallel. Discussion in open space.

7th Week: World Soundscape Project and Acoustic Ecology: The Vancouver Soundscape Project. Listening of works and student projects, analysis, sound diffusion in class.

8th Week: Real-Hybrid-Abstract soundscapes. Soundwalk in the city of Corfu and recording in the field at the area of old fortress.

9th Week: Listening-analysis of works. Presentation of student works through sound diffusion (A)

10th Week: Listening-analysis of works. Presentation of student works through sound diffusion (B)

11th Week: Listening-analysis of works. Presentation of student works through sound diffusion (C)

12th Week: General reviewing. Preparation for final presentation (rehearsals and coaching)

13th Week: Final presentation in the form of concert.

Lotis, T., Diamantopoulos, T., 2015. Music Informatics and Music with Computers. Athens, Academic Publishers. http://hdl.handle.net/11419/4920

Santorinaios, M., Zoi, S., Dimitriadi, N., Diamantopoulos, T., Bardakos, G., 2015. From complex Arts to hypermedia and new virtual-potential spaces. A handbook for the artist creating through digital art. Athens, Academic Publishers. http://hdl.handle.net/11419/6076

Theoretical lectures are given through multimedia presentations, which are available through the e-class platform. On a pracrtical basis, the sound environment is studied and recorded for development of sounndscape compositions. Student projects are performed in class on a weekly basis, usually through multichannel sound diffusion system. Additional visits to the field and recordings are made throughout the semester, to enhance the experiential approach and provide students with new sound material for their projects.

Enhanced by multimedia content.
The learning process is supported by the asyncrhonous e-learning platform e-class.

Examination is made through a final project (soundscape composition) which is given at the end of semester as an audio file, accompanied by a written supporting document. The student's progress throughout the semester and activity in class are also appreciated.