🔵 🔴 🟡 Course description

The course introduces students to the art of sound, sound design, and soundscapes. Sound is considered both as an autonomous means of creative expression and in relation to new media. Emphasis is placed on sound processing for film, radio, internet and performing arts, focusing on modern techniques of recording, digital sound processing and production. The necessary skills for sound design and mixing are also provided, using a variety of tools and software that are widely used in the artistic and professional field. Also, students have the opportunity to familiarize themselves both theoretically and practically with the exploration of the concept of sound environments and acoustic ecology. The course combines theoretical study, practical exercises, group activities, and the development of a comprehensive sound artwork or sound design.

At the end of the course, the student will be able to:

• Know the history of sound art and is familiar with its modern forms.

• Understand and put into practice the different modes of listening (Modes of Listening)

• Understand the fundamentals and techniques of sound design combined with other art forms.

• Use of professional and open source audio editing software.

• Become familiar with advanced sound recording, mixing, and electroacoustic processing techniques, applying these skills to various laboratory exercises and projects.

• Understand the structure of the soundtrack by analyzing its components, as well as the role they play in creating the overall auditory experience of an audiovisual project.

• Understand how sound contributes to the narrative structure and atmosphere in an audiovisual work.

• Understand and recognize the structural elements of the soundscape and the basic principles of acoustic ecology.

• Apply his/her knowledge and skills to create complete sound design projects.

🔵 🔴 🟡 Theory (1 hour)

1. The Art of Sound I: History of Sound Art

2. The Art of Sound II: Ways of Listening

3. The Art of Sound III: Contemporary Sound Art

4. Sound Environments I: Soundscapes and Acoustic Ecology, Synthetic Soundscapes

5. Progress Presentations

6. Sound Environments II: Sound Walk

7. Sound Design I: Image-Sound Relationship

8. Sound Design II: The Soundtrack and its Structural Elements

9. Sound Design III: Sound in the Performing Arts, Podcasts and Radio

10. Progress Presentations

11. Sound Design & Aesthetics: Semiotics, Realism and Hyperreality

12. Sound and Space: Sophisticated Sound Projection Techniques

13. Presentations of Final Projects

     

🔵 🔴 🟡 Workshop (2 hours)

1. Digital Workstations I: Basic Functions

2. Microphones and Recording Techniques

3. Digital Workstations II: Basic Audio Processing Techniques

4. Digital Tools: Advanced Audio Processing Techniques

5. Progress Presentations

6. Sound walk

7. Digital Workstations III: Moving Tasks

8. Group Activity: Sound Design with Live Improvisation

9. Foley Techniques

10. Progress Presentations

11. Post-Production I

12. Post Production II

13. Presentations of Final Projects

Review language: Greek

🔵 🔴 🟡 Evaluation method:

• Progress Project I – 20 %
• Progress Project II – 30 %
• Final Project – 50 %

• Face-to-face
• Open source software for digital audio processing
• Audio Recorders
• Use of digital presentations and computer during lecture.
• Use of laboratory exercises on computers.
• Support of the learning process and distribution of material through the electronic platform e-class.
• Communication with students via e-mai and through an electronic chat room in the e-class.

https://eclass.uop.gr/courses/3931/

🔵 🔴 🟡 Course Textbooks [Eudoxus]

• Lotis, Th., & Diamantopoulos, T. (2016). Music informatics and computer music. Kallipos Repository.

• Lotis, T., & Lotis, T. (2023). Electronic Music Composition. Kallipos Repository.

• Chion, M. (2010). Sound in Cinema. Patakis Publications.

• Alten, S. (2004). Audio Production and Processing by Electronic Media. Greek.

Extra Bibliography

• Mniestris Andreas. (2014). On the translation into Greek of some basic terms of Pierre Schaeffer's theory. 3rd Auditory Ecology Conference "Acoustic Ecology and Education", 14–21.
• Boubaris, N. (2015). Analyzing the Acousmatic Experience—Towards a Cultural Sociology of Sound. Science and Society: Review of Political and Moral Theory, 10, 207–247.
• Ballou, G. (2008). Handbook for Sound Engineers. Taylor & Francis.
• Chion, M. (2019). Audio-Vision: Sound on Screen. Columbia University Press.
• Collins, K. (2020). Studying Sound: A Theory and Practice of Sound Design. MIT Press.
• Cox, C., & Warner, D. (2004). Audio Culture: Readings in Modern Music. A&C Black.
• Crook, T. (2002). Radio Drama. Routledge.
• Kahn, D. (1999). Noise, Water, Meat: A history of sound in the arts. MIT Press.
• Kim-Cohen, S. (2009). In the Blink of an Ear: Toward a non-cochlear sonic art. A&C Black.
• Schafer, R. M. (1994). The Soundscape: Our sonic environment and the tuning of the world. Destiny Books.
• Sider, J., & Freeman, D. (2003). Soundscape: The School of Sound Lectures, 1998-2001. Wallflower Press.
• Viers, R. (2014). The Sound Effects Bible: How to Create and Record Hollywood Style Sound Effects. Michael Wiese Productions.
• Wishart, T., & Emmerson, S. (1996). On Sonic Art. Psychology Press.