| Beschreibung |
This block course offers a foundational approach to listening as both an analytical and compositional practice. Students will explore key concepts such as sound events, sound objects, and morphological structures through exercises in deep listening, sonic writing, notation, field recording, and composition. Drawing on practices from Schaeffer, Schafer, Ferrari, Oliveros, and others, the course introduces strategies for transforming auditory perception into compositional material. Through focused sessions on sound classification, sonic notation, and sound composition, participants will develop an expanded understanding of how listening can inform form, structure, and intention in sound-based works. A basic understanding of digital audio workstations (DAWs) is expected; no other prior knowledge is required. To register for the course, apart from BISON, please send an informal email to eleftherios.krysalis@uni-weimar.de |
| Literatur |
Cage, John – Silence: Lectures and Writings. 19th printing. Wesleyan University Press, 2011 Caux, Jacqueline – Almost Nothing with Luc Ferrari. Errant Bodies Press, 2012 LaBelle, Brandon – The Poetics of Listening Oliveros, Pauline – Deep Listening: A Composer’s Practice Schaeffer, Pierre – Treatise on Musical Objects (excerpts) Schafer, R. Murray – The Soundscape: Our Sonic Environment and the Tuning of the World Truax, Barry – “Soundscape Composition as Global Music.” Accessed July 25, 2025. https://www.sfu.ca/~truax/OS8.html Voegelin, Salomé – Listening to Noise and Silence Westerkamp, Hildegard – Selected essays on soundscape composition and acoustic ecology |
