[sound reproduction studies]

The schedule below consists of “chats,” “lectures,” “workshops,” “case studies,” “blog comments,” and “audio entries.”

Chats are simply class discussions. We will talk about something as a large group.

Lectures are just that. I will spend a notable amount of time (thirty minutes to an hour) talking about some aspect of sound reproduction studies.

Workshops are focused, small group meetings with a specific goal or aim in mind. Some of these will include the technologies we are working with in class. Often, you will be asked to submit something (as a group) when the workshops are finished.

Case studies (eight total) are the primary means through which we will discuss sound reproduction theory, history, and practice in this class. They are composed by me and published on the course site approximately one week prior to when we will cover them. You should read, watch, or listen to them carefully before we discuss. I will also ask you to comment on them.

Blog comments are also just that: comments on blog entries. During class, we will review what the protocols are for these. They are a means of keeping our conversations going outside of the classroom.

Audio entries include any of the audio assignments that are due.

Th 9/30: Welcome and Introductions, Chat: “What’s Sound Repro Studies? Why Should I Care?”

Nothing Due

Tu 10/5: Workshop: “Audacity and WordPress” (in UW2 121!)

Due: Review Audacity, Find a Recorder

Th 10/7: Chat/Lecture: “A Brief History of Sound Reproduction” & Introduction to Web-Based Digital Collections

Due: Blog Comment  (“Found” Tech)

Tu 10/12: Workshop: WordPress (in UW2 121!), Establish Research and Support Clusters

Due: Blog Comment (Question from 10/7)

Th 10/14: Workshop: “Schafer’s Soundscapes,” Chat: Share Audiographies

Due: Audio Entry #1 (Audiography)

Tu 10/19: Chat about the Audiovisual Litany, Workshop: “Hearing, Listening, or Attending?”

Due: Read Sterne (PDF)

Th 10/21: Chat/Lecture: “Critical Theory, Technologies, & Media,” Workshop: “What Does ‘Material’ Mean?”

Due: Audio Entry #2 (Re: Audiography)

Tu 10/26: Case Study 1: “Kool Herc & Vinyl Records,” Workshop: “Turntablism, Remix, or Mash-up?”

Due: Review Case #1 w/ Blog Comment

Th 10/28: Case Study 2: “Voice-Over Narration, Chion & Film,” Workshop: “Re-Narrating Grizzly Man“

Due: Review Case #2 w/ Blog Comment

Tu 11/2: Class and Cluster Evaluation Day

Th 11/4: Workshop on Documentaries

Due:  Audio Entry #3 (“Found” Sound)

Tu 11/9: Case Study 3: “The Phonautograph & Whose Ear?” & Workshop: “Preserving the Dead”

Case Study 4: “Actionable Offenses & Offensive Ads,” Workshop: “Early Audio, Gender & High Fidelity”

Due: Audio Entry #4 (Re: “Found” Sound)

Th 11/11: No class!

Tu 11/16: Case Study 5: “William S. Burroughs, Tape & the Book,” Workshop: “In Two Places at Once”

Due: Review Case #5 w/ Blog Comment

Th 11/18: Case Study 6: “Napster & the MP3,” Workshop: “Whose File Is It?  Where Is It Stored?”

Due: Review Case #6 w/ Blog Comment

Tu 11/23: Share Audio Documentaries

Due: Audio Entry #5 (Audio Documentary)

Th 11/25: No class!

Tu 11/30: Case Study 7: “Pink Noise & Electronic Music,” Workshop: “Public Secrets and Other Interviews”

Due: Review Case #7 w/ Blog Comment

Th 12/2: Workshop: “Producing a Persuasive Remix,” Workshop: “Writing Abstracts for Media Projects”

Nothing Due!

Tu 12/7: Case Study 8: “The Lomax Field Recordings,”  Workshop: “The Race Politics of Collection & Curation”

Due: Audio Entry #6 (Your Choice!)

Th 12/9: Class and Cluster Evaluation (and Course Review)

Nothing Due!

Tu 12/14: No class (Exams Week)

Nothing Due!

Th 12/16: No class (Exams Week)

Due: Final Remix