Teaching

Project module · 6 SWS · 18 ECTS · Taught by: Jun.-Prof. Kerstin Ergenzinger, Dr. Marcin Pietruszewski
Plenary: Tuesdays, 13:30–16:45, from 13 October 2026 · Marienstraße 5, Project Room 203
Sonic Tuesdays / Sonic Talks: Tuesdays, 19:00–21:00
Individual consultations (online): Thursdays 14:00–17:15 and Fridays 09:00–10:30
Language: German and English (bilingual) · BISON no. 326220017

We live together, and we do not agree. This "we" is not only human. It names the shared, adjacent and seemingly separate environments and communities in which more-than-human forms of life and we act upon one another. Even apparently parallel, distant or separate states are permeable: interventions, influences and long-distance connections take effect without their material and temporal chains necessarily being known or conscious.

In this project we ask what connection means under conditions of disagreement. We treat and negotiate the connections of a web of relations as medium and working material in their own right. What makes me a member of a group when I play, and what when I listen?

Feedback and interaction are used not as metaphor but as method: a system of nodes that feed one another without having to agree. We work with contradiction and dissonance, with borrowing, lending and stealing from shared material, with coexistence, arriving and leaving.

Over the semester we develop a collaborative, sculptural sound installation for the joint exhibition of the sound area at the Winterwerkschau. The planned venue is the Sendehalle.

We work with networked and distributed sound systems, sculptural and kinetic elements, acoustic and electroacoustic coupling, transducers (microphones, exciters) and field recording. The means develop out of what participants bring into the project. Previous experience is welcome but not required, and non-sounding contributions are explicitly part of the concept.

Readings and discursive references for a critical contextualisation of community, civilisation and ecology range from Charles Darwin, Ernst Haeckel and Lynn Margulis through Gregory Bateson, Heinz von Foerster and second-order cybernetics to John Bishoff, James Bridle, David Graeber and David Wengrow, David Haskell, Timothy Morton, You Nakai, John Oswald, Curtis Roads, as well as Margo Neale and Lynne Kelly. Historical and artistic references include Maryanne Amacher, Lygia Clark, Gego, Gordon Pask, Sara Szee, David Tudor, The League of Automatic Music Composers and The Hub, among others.

The project is built on collaboration. We work in plenary sessions, in groups and in one-to-one conversations; contributions emerge in teams and take shape through exchange. Work carried over from previous projects is also welcome and can find its place in the shared assemblage.

Format: The course takes place as regular meetings – plenary sessions, input lectures and exercises, partly in block format. Projects and semester assignments are additionally supported through individual consultations. The semester schedule and dates will be discussed at the first meeting.

Assessment: Collaborative, sculptural sound installation for the joint exhibition of the sound area at the Winterwerkschau. Regular attendance, completion of assignments and active participation in the seminar are expected.

Target group: Interested students from other degree programmes of the Faculty of Art and Design, from other faculties and from the HfM are welcome. If there are too many applicants, places are allocated by priority, degree programme and letter of motivation.

SIGNAL AND TRACE: Electronic and Electroacoustic Music, Sound Art, and Their Archives

Academic module (Wissenschaftsmodul) · 2 SWS · 6 ECTS · Taught by: Dr. Marcin Pietruszewski
Mondays, 17:15–20:30, from 19 October 2026 · Steubenstraße 8, Haus A, Project Room 601
Language: English · BISON no. 326230005

Every electronic sound arrives through a machine, and every machine carries assumptions about what listening is for. This seminar takes those assumptions as its subject. We work across a century of electronic and electroacoustic music, tape composition, computer synthesis, sound art and current practice, but not as a chronology. Instead we proceed by mediation: each session sets a contemporary work against an older one and asks what technical, institutional or perceptual conditions connect them.

The method runs in both directions. A piece made this year is read back into the studio conditions, listening habits and material constraints from which its techniques descend. A work from the 1950s or 1960s is heard forward, as something that continues to operate in equipment, software and habits still in use. Neither direction is a matter of influence. What we are after is the recurrence of problems: the grain of the recorded material, the instrument as an argument about music, the room and the loudspeaker as compositional media, the relation between what is calculated and what is heard.

Archives are central to this. Almost everything we can hear of this history reaches us through a recording, a catalogue, a reissue, a scan, an upload, and each of these is a decision about what survives and in what form. We treat archives not as neutral storage but as instruments in their own right: institutional collections, broadcast holdings, commercial reissue programmes, private tape libraries, and the unofficial archives that circulate online. Reading a work means also reading the conditions under which it has been kept, transferred, described and made audible again.

Sessions run three hours and are built around three activities held in tension: listening, reading, and discussion. We listen at length and more than once. Texts are short, read carefully, and treated as evidence rather than commentary. Discussion is the point at which the two meet.

The seminar supports and feeds into several Project and Fach Modules, in particular Audio Tools I and II, Community of Dissent, and the Sendehalle archive project, and it is intended to give students working in these contexts a historical and critical vocabulary for what they are already doing. It also connects to Sonic Tuesdays, the weekly listening and discussion forum organised collaboratively by the three sound professorships of the Bauhaus-Universität and their students, where several of the works and questions raised here are taken up in a wider setting.

No prior technical training is required. Students who work with sound are encouraged to bring their own material into the seminar; those who do not will still find the questions addressed to them, since the object throughout is not a repertoire but the historically shaped condition of being able to hear at all.

Assessment: Attendance and short written assignment.

Specialist module (Fachmodul) · 4 SWS · Taught by: Alexandru Salariu
Thursdays, 09:30–12:00, from 15 October 2026 (please check the schedule) · Marienstraße 5, Project Room 203
Language: German or English (decided together) · BISON no. 326210015

Audio Tools I is the introductory course in digital sound. You want to work with sound digitally but have no idea how? Or you already have some experience but would like to round out and refresh your knowledge? Then this is the right place for you.

You will learn everything from the absolute basics of sound and vibration, through the fundamentals of field recording and working digitally with sound in a DAW (digital audio workstation), to finishing a mix and a short introduction to mastering. The goal is to complete your own composition by the end of the course, which we will present at the Winterwerkschau, either as an installation or possibly as part of a radio show. The finished composition and its presentation at the Winterwerkschau form the graded assessment for the course.

Each week there is an input and a practical assignment to be completed by the following session. At the start of each session we listen to the results of the previous assignment – knowledge is acquired through practice, and listening together trains our critical ear. After the course and a lunch break, the Open Klanglabor takes place at 13:00; participants are welcome to stay in the Klanglabor, keep working on their compositions and assignments, and get advice.

Target group: The course is open to all degree programmes; please check your study regulations. Students of Media Art and Design (MKG) and Art Education (Lehramt Kunst) have priority.

Project module · 16 SWS · Lecturers: Assistant Professor Kerstin Ergenzinger, Dr Marcin Pietruszewski

Overview:

What exactly are instruments – and what might they be? What happens when we begin to consistently consider everything in terms of interrelationships and translate ‘ecological thinking’ into sonic practice?

Both courses, entitled “Instrumentalities for Acoustic Ecologies”, explore the mediating tools – perceptual, technological and conceptual – through which we encounter, analyse and intervene in sonic environments.

The project module unfolds a playful process of concrete investigation and creative practice. The academic module develops critical and theoretical frameworks. Both modules feed into one another: practical encounters with instruments, places and materials generate questions that reorient the theoretical discourse. At the same time, critical frameworks open up new possibilities for creative intervention. 

 

We are working towards the joint Summaery Sound exhibition programme.

The courses are designed to complement one another. Students who opt for the project module should also attend the academic module.

Instruments beyond music:

The term ‘instrument’ extends far beyond its conventional musical meaning. An instrument is any device that expands, focuses or transforms perception and action. The ear itself is an instrument: a biological transducer with specific sensitivities, thresholds and blind spots that shape what we can perceive of the acoustic world. Scientific instruments – sound level metres, spectrographs, microphone arrays – further expand and limit this knowledge by making certain phenomena perceptible whilst obscuring others. Even notation systems, field-recording practices and analytical frameworks function as instruments: they are not neutral windows onto sound, but active contributors to the construction of what ‘sound’ becomes for us. Following thinkers such as Don Ihde and Jonathan Sterne, we understand instruments as relational – they do not simply reveal a pre-existing world, but help to bring into being the phenomena they measure.

Acoustic ecology as a discipline and practice:

Acoustic ecology emerged in the 1970s from R. Murray Schaffer’s World Soundscape Project as an interdisciplinary field concerned with the relationship between living beings and their sonic environments. It encompasses analytical work (soundscape studies, bioacoustics, urban sound research), artistic practice (soundscape composition, phonography, sound installation) and activist dimensions (noise abatement policy, sound design, the preservation of endangered soundscapes). Contemporary acoustic ecology has evolved beyond Schaefer’s sometimes nostalgic framework and incorporates postcolonial ways of listening, non-human acoustics and political questions, including whose ears and whose instruments determine the quality of environmental sounds.

 

Both courses ask: What tools do we need – and which tools must we critically question – in order to listen ecologically?

 

Learning outcomes:

Practical competence in field-based sonic research, including experimenting, playing and tinkering with material, digital, conceptual and embodied instrumentalities. Developing work that demonstrates both technical skill and critical reflection. Key competences include:

- Advanced recording techniques and experimental use of microphones as instruments

- Analytical listening, reduced listening, incidental listening, semantic listening, listening over both long and short periods of time

- Taking into account the extended acoustic sensorium (not just the ear), but the body as an instrument; working with measurement and visualisation tools: spectral analysis, sound level mapping, spatial documentation

- Formulating artistic research questions that link sound practice with ecological and political issues

Assessment:

An independently developed project in which you use a chosen ‘instrumentality’ – a tool, a technique or a conceptual framework – to investigate a specific acoustic environment and thereby produce a practical outcome, e.g. a composition, an installation or an intervention. Everyone is invited to bring along work they have already started and to develop it further within the framework and context of the project module. Regular attendance and active participation in the seminar are expected.

Additional information:

The course takes the form of regular sessions: plenary sessions, input lectures and practical exercises, as well as, in some cases, blocks of sessions such as workshops or excursions. Individual projects and term assignments are also supported through one-to-one consultations. The exact term schedule and dates will be discussed at the first session.

Academic module · 4 SWS · Lecturer: Dr Marcin Pietruszewski

Overview
What exactly are instruments – and what might they be? What happens when we begin to think of everything in terms of interrelationships and translate ‘ecological thinking’ into sonic practice?

Both courses, entitled “Instrumentalities for Acoustic Ecologies”, explore the mediating tools – perceptual, technological and conceptual – through which we encounter, analyse and intervene in sonic environments.

The academic module develops critical and theoretical frameworks. The project module unfolds a playful process of concrete investigation and creative practice. Both modules feed into one another: practical encounters with instruments, places and materials generate questions that reorient the theoretical discourse. At the same time, critical conceptual frameworks open up new possibilities for creative intervention. Together, we work towards the joint ‘Summary Sound’ exhibition programme.

The courses are designed to complement one another. However, students may also choose to attend only the academic module.

Instruments beyond music
The term ‘instrument’ extends far beyond its conventional musical meaning. An instrument is any device that expands, focuses or transforms perception and action. The ear itself is an instrument: a biological transducer with specific sensitivities, thresholds and blind spots that shape what we can perceive of the acoustic world. Scientific instruments – sound level metres, spectrographs, microphone arrays – further expand and limit this knowledge by making certain phenomena perceptible whilst obscuring others. Even notation systems, field-recording practices and analytical frameworks function as instruments: they are not neutral windows onto sound, but active contributors to the construction of what ‘sound’ becomes for us. Following thinkers such as Don Ihde and Jonathan Sterne, we understand instruments as relational – they do not simply reveal a pre-existing world, but help to bring into being the phenomena they measure.

Acoustic Ecology as a Discipline and Practice
Acoustic ecology emerged in the 1970s from R. Murray Schaffer’s World Soundscape Project as an interdisciplinary field concerned with the relationship between living beings and their sonic environments. It encompasses analytical work (soundscape studies, bioacoustics, urban sound research), artistic practice (soundscape composition, phonography, sound installation) and activist dimensions (noise abatement policy, sound design, the preservation of endangered soundscapes). Contemporary acoustic ecology has evolved beyond Schaefer’s sometimes nostalgic framework and incorporates postcolonial ways of listening, non-human acoustics and political questions, including whose ears and whose instruments determine the quality of environmental sounds.

Both courses ask: What instruments do we need – and which instruments must we critically question – in order to listen ecologically?

This seminar-based module develops critical and historical conceptual frameworks for understanding the relationship between hearing, instrumentation and the environment. Drawing on sound studies, phenomenology of technology and critical ecology, we examine how instruments – understood in the broadest sense – mediate between listening subjects and soundscapes.
Learning outcomes: Developing a critical vocabulary to discuss the relationships between listening subjects, mediating technologies and sonic environments. Learning to situate perceptual and creative practices within the broader contexts of the history of acoustics, environmental thought and Sound Studies. Key competences include:
Analysing how instruments (from the ear to the algorithm) shape what can be heard, measured and known; understanding the intellectual genealogy of acoustic ecology – from Schafer through Truax and Westerkamp to contemporary critiques; engaging with concepts such as soundscape, acoustic community, schizophony and the positionality of hearing; a critical assessment of the political dimensions of sound measurement standards, noise protection regulations and concepts of ‘sound quality’; reading across disciplinary boundaries: acoustics, media theory, ecology, and the anthropology of the senses

Assessment
: Production of written pieces demonstrating a theoretical engagement with the course topics. These texts will contribute to a publication accompanying the joint Summaery-Sound exhibition programme, placing the practical works presented in the project module within a critical and historical context. Possible formats include essays or shorter catalogue texts.

Specialist module · 4 SWS · Lecturer: Jason Langheim

Sound shapes spaces – visible and invisible, real and imagined. The Audio Tools I course focuses on creative work with fixed-media pieces and the sonic exploration of spaces. How can a place be made tangible through sound? What atmospheres are created through editing, effects and spatial design?

The Audio Tools course offers a practical introduction to the production of fixed-media pieces in a professional sound and radio studio. The focus is on the creative and technical work with pre-produced sound material – from recording and editing through to the final mix. Thematically, the module explores the design, perception and staging of acoustic and artistic spaces.

Students will gain a basic understanding of signal flow in the studio, the targeted use of equalisers and dynamic effects, and how to use common editing and production software (e.g. Reaper) with confidence. In addition, mobile recording techniques are explored to tap into different sound sources for students’ own compositional work.

Successful completion of the ‘Audio Tools’ module qualifies students to use the Experimental Radio studios independently and enables them to produce their own audio works. Regular active participation and involvement in the final broadcast at the end of the semester are
prerequisites for successful completion.

Specialist module · 4 SWS · Lecturer: Alexandru Salariu

This seminar offers an introduction to 1. Receptors: advanced and unusual microphone, field recording and post-processing technologies; and 2. Emitters: advanced sound reproduction technology. The course expands your sound output capabilities and your perception of sound environments beyond human perception. It is a practice-oriented course with time set aside for working with the equipment, including two outdoor field-recording excursions.

Stoma (pl. stomata) is a Greek word meaning ‘mouth’ or ‘opening’. In botany, it is used to describe a pore that exchanges gases with the outside world, and it serves as a metaphor for our electronic audio technologies, helping to broaden our understanding of sound reception and emission.

You will learn how to use contact microphones, geophones, hydrophones, directional microphones, electromagnetic microphones and ultrasonic microphones to record airborne and structure-borne sound in the elements (air, water, earth) across a range from subsonic to ultrasonic frequencies and electromagnetic waves. We will then learn how to edit the recordings and explore various options for sound output, ranging from conventional loudspeakers to directional arrays, structure-borne sound transducers and vibration motors.

By taking part in each chapter of the seminar, you will be able to borrow the specific equipment from the sound hire service.

Project module · 16 SWS · Lecturers: Jun.-Prof. Kerstin Ergenzinger, Dr Marcin Pietruszewski, Florencia Curci

Introduction The ground beneath our feet is neither immobile nor still. Tectonic plates have been drifting for millennia, sediments accumulate as archives of pressure and fractures, rivers vanish into underground channels, and the planet itself rotates ceaselessly on its axis. These movements, largely imperceptible in everyday human life, are the conditions of all existence. They form the rhythms of geological, planetary and cyclical deep time, which quietly organise our orientation in the world.

In this module, we approach deep time through three interwoven perspectives. Firstly, soil-earth: the material depth of soils, sediments and infrastructures, and at the same time the embodied act of grounding ourselves, of anchoring ourselves within them. The soil appears as a geological archive layered with stories of exploitation, erosion and resistance, whilst grounding appears as a practice of contact and presence within that which sustains us. Secondly, flows: the subtle and profound bonds that hold things together, from underground rivers connecting distant bodies of water to the threads of mycelium weaving nutrients across vast networks, or more abstract currents of memory and relationship circulating beneath our perception. Thirdly, rotations: the cyclical movements that never return as the same thing—the planet’s rotation through day and night, the spiral-like repetition of the seasons, the expansion and contraction of the breath. Every cycle is both repetition and difference, a movement of return that transforms. These three perspectives interweave to form a shared question that unfolds in several directions: How can artistic practice resonate with temporalities that extend beyond human perception?

Method

The focus of this module is on methods and methodologies – on ways to sense, trace and amplify what deep time does to us. Drawing is understood not as representation, but as a form of thinking, as a way of tracing lines and movements as they unfold over time, drawing on Tim Ingold’s thesis that the line is a living gesture. The construction and playing of instruments are explored as a practice of creating new instrumentalities – both tools and embodiments that not only capture but actively shape relationships with soils, currents and rotations. Readings (Ingold, Careri, Lefebvre and others) accompany these practices as companions and provoke connections between embodied experiments and theoretical reflection.

Outcomes

By the end of the semester, participants will have compiled a collection of traces: drawings, recordings, instrument prototypes and essays in various forms – written, oral, audio and performative. These outcomes are not regarded as finished works, but as fragments of research that record encounters with deep time.

Each student will write an essay for their credits, the form of which is open to them. The semester concludes with a joint session in which these essays are read aloud, recited or performed to one another, thereby creating a shared resonance of the investigations.

Further information

Teaching on the project module will take place in collaboration with the curator, radio and sound artist Florencia Curci https://www.florenciacurci.xyz/ and with Marcin Pietruszewski, with a particular focus on the relationship between image and sound.

Specialist module · 6 SWS · Lecturer: Dr Marcin Pietruszewski

The Sound and Image module explores the dynamic interplay between scientific imaging and sound through data sonification using the SuperCollider programming environment. Students learn the basics of SuperCollider and develop the skills to transform visual data into sound and to experiment with various sonification methods. A key focus is on the exploration of multi-channel sound, through which immersive acoustic experiences are created that expand the spatial and conceptual dimensions of sonification.

Beyond technical skills, the module encourages a critical engagement with the cultural, theoretical and ethical aspects of digital image and sound media. Students analyse the formats, structures and implications of digital images, scrutinise their role in contemporary culture and reflect on the impact of digitalisation on perception. Discussions also address sound as a vehicle for knowledge and the question of how auditory representations can convey complex scientific and cultural narratives.

The module facilitates a wide range of creative and intellectual outcomes. Final projects may include programme-based multi-channel sonification designs, experimental sound compositions or critical essays on the relationship between sound, image and knowledge. By integrating technical, creative and critical approaches, the module fosters interdisciplinary thinking and innovative explorations of sound and image.

Specialist module · 4 SWS · Lecturers: Jun.-Prof. Kerstin Ergenzinger, Professor Ursula Damm, Mindaugas Gapsevicius

Additional teaching staff:

Prof. Kerstin Ergenzinger, Bauhaus University Weimar
; Prof. Ursula Damm, Bauhaus University Weimar;
Dr Mindaugas Gapsevicius, Bauhaus University Weimar
; Prof. Angeliki Poulou, National and Kapodistrian University of Athens
; Prof. Laura Beloff, Aalto University
Prof. Dimitris Charitos, National and Kapodistrian University of Athens
Prof. Alexandros Kontogeorgakopoulos, National and Kapodistrian University of Athens
Prof. Katerina Antonopoulou, National and Kapodistrian University of Athens
Prof. Haris Rizopoulos, National and Kapodistrian University of Athens

The course explores the intersection of art, science and ecology through interdisciplinary research and artistic practice. Focusing on aquatic ecosystems, participants will develop artistic projects and embodied sensory experiences. Fieldwork will take place in Psachna, Greece, with particular attention to the Kolovrechtis Wetland and the Chalcis Strait.

Students will engage with a variety of artistic and research methodologies – including storytelling, creative writing, interactive installations, and scientific approaches. The course fosters both experimental and reflective modes of knowledge production, supporting dialogue between disciplines and encouraging the development of new collaborations across ecology, digital media, and contemporary art.

Through embodied research, we will explore the ecological, generative and disruptive dimensions of sensory perceptions – listening, seeing, smelling, tasting, touching and beyond. Participants will be invited to:
1) Develop curatorial, dramaturgical or theoretical perspectives on aquatic environments;
2) Create interactive installations as tools for artistic inquiry and as platforms to reimagine ecological interdependencies beyond human-centred perspectives;
3) Critically examine technology, its entanglements with ecology, and its role in the climate crisis.

During the fieldwork, students are expected to develop a small project, a prototype, or a component of a larger project. Emphasis will be placed on group discussions, informed by lectures and supervision. Each participant (individually or in groups) will present their project at the end of the week and document it on a shared wiki platform.

The course is coordinated by the Acoustic Ecologies and Media Environments departments at Bauhaus University Weimar, hosted by DCARTS at the National and Kapodistrian University of Athens, with the participation of the Department of Art and Media at Aalto University. It is offered within the framework of the Erasmus Blended Intensive Programme and carries 6 ECTS credits.

Specialist module · 4 SWS · Lecturers: Jun.-Prof. Kerstin Ergenzinger, Maximilian Marcoll, Hans-Martin Rehnig, Dr Marcin Pietruszewski, Yue Wang

Anyone aiming for a BA (Bachelor’s) must start with AB (Absolute Beginners). In this first semester, you will get to know all the academic staff on the Media Art / Media Design (MKG) programme, which will then help you decide on your personal area of specialisation. The auditory and the visual, the event-driven, the conceptual, the interactive: these areas intertwine, and the possible combinations are diverse.

The compulsory introductory module introduces you to all areas of teaching through experimental micro-projects and design exercises, which will alternate throughout the semester:

Interface Design 20.10.25 – 30.10.25

Design of Media Environments 3 Nov 25 – 14 Nov 25

Media Events 17 November 2025 – 28 November 2025

Experimental Radio 1 December 2025 – 12 December 2025

Acoustic Ecologies and Sound Studies; Electroacoustic Composition and Sound Art 5 January 2026 – 16 January 2026

To complete your first semester, you must successfully complete all five subject modules.

Specialist module · 4 SWS · Lecturer: Yue Wang

Listening → ( ) → Sound. How would you complete this title? Recognising, understanding, recording, processing, editing, designing, producing … This introductory course in audio technology systematically imparts a broad range of knowledge that you’ll need to begin your explorations in the field of sound.

The course consists of regular weekly sessions and a two-day workshop:

Through the input and exercises over the first two months, you’ll gain a basic understanding of acoustics, recording and playback techniques, as well as confidence in using common editing and production software (e.g. Reaper, Ableton, Max/MSP and other audio plugins). 

The workshop at the end of the semester offers further practical applications. Over these two days, participants will each produce and present a short fixed-media piece or a sound performance.

This course is part of the ‘Acoustic Ecologies and Sound Studies’ programme, in collaboration with ‘Experimental Radio’. Successful completion of this course entitles participants to access our sound library and to work independently in the M5 Sound Lab.

Specialist module · 4 SWS · Lecturer: Jason Langheim

This seminar focuses on experimental sound manipulation and audio mixing for listening via headphones. In the first half of the semester, we will use Max/MSP to develop our own tools for editing and transforming sound. By working with granular structures, time-stretching, spectral interventions, playback rate manipulation, modulation, filtering and random processes, we will explore key techniques in digital sound design. The aim is not simply to write code, but to gain a deeper understanding of sonic processes – as a basis for the informed selection and use of professional software environments. 

In the second half, the focus shifts from microscopic sound editing to the spatial staging of sound in the headphone environment. We work with techniques of binaural mixing, virtual acoustics, spatial placement, stereo width, movement within the sound field and sonic dramaturgy. A variety of tools and workflows are utilised – ranging from artificial head recordings and Ambisonics decoders to specialised spatial audio plug-ins. The aim is to develop your own headphone-based audio production that is creatively compelling and technically sound. 

A basic knowledge of audio editing is a prerequisite. Knowledge of Max/MSP is helpful but not essential.

→ More about the course

→ More about the course

→ More about the course

→ More about the course

→ More about the course

→ More about the course

→ More about the course

The class introduces fundamental aspects of SuperCollider programming language and audio synthesis server. We will combine learning basic aspects of Object-Oriented programming (syntax, objects, arguments, data structures, inheritance … ) with development of sound synthesis models (frequency modulation, additive synthesis, granular synthesis …). The class will also include introduction to design of graphic interface (GUI), midi interface and algorithmic composition. No prior knowledge of programming is required. 

Instructor: Dr. Marcin Pietruszewski

→ More about the course

→ More about the course

→ More about the course

→ More about the course

→ More about the course

→ More about the course

→ More about the course

→ More about the course

→ More about the course

→ More about the course