160062 VO Screen Culture (2020W)
Labels
An/Abmeldung
Hinweis: Ihr Anmeldezeitpunkt innerhalb der Frist hat keine Auswirkungen auf die Platzvergabe (kein "first come, first served").
Details
Sprache: Englisch
Prüfungstermine
- Mittwoch 27.01.2021 09:45 - 11:15 Digital
- Montag 15.03.2021 09:45 - 11:15 Digital
- Montag 03.05.2021 09:45 - 11:15 Digital
- Montag 14.06.2021 09:45 - 11:15 Digital
Lehrende
Termine (iCal) - nächster Termin ist mit N markiert
UPDATE: Due to the large number of students registered to take this class, the first lecture on 7 October will take place ONLINE.
- Mittwoch 07.10. 09:45 - 11:15 Digital
- Mittwoch 14.10. 09:45 - 11:15 Hörsaal 1 Musikwissenschaft UniCampus Hof 9, 3G-EG-09
- Mittwoch 21.10. 09:45 - 11:15 Hörsaal 1 Musikwissenschaft UniCampus Hof 9, 3G-EG-09
- Mittwoch 28.10. 09:45 - 11:15 Hörsaal 1 Musikwissenschaft UniCampus Hof 9, 3G-EG-09
- Mittwoch 04.11. 09:15 - 10:45 Digital
- Mittwoch 11.11. 09:45 - 11:15 Digital
- Mittwoch 18.11. 09:45 - 11:15 Digital
- Mittwoch 25.11. 09:45 - 11:15 Digital
- Mittwoch 02.12. 09:45 - 11:15 Digital
- Mittwoch 09.12. 09:45 - 11:15 Digital
- Mittwoch 16.12. 09:45 - 11:15 Digital
- Mittwoch 13.01. 09:45 - 11:15 Digital
- Mittwoch 20.01. 09:45 - 11:15 Digital
Information
Ziele, Inhalte und Methode der Lehrveranstaltung
Art der Leistungskontrolle und erlaubte Hilfsmittel
By the end of the course, students will:
• understand the multiple ways in which sound and music are used across a range of digital media,
• understand the relationship between new media and technological, psychological, social, political and economic realities,
• have at their disposal a number of theoretical tools that allow for more precise description and discussion of digital sound and its relationship to its cultural context,
• appreciate the contours of the academic and wider debates surrounding new media, particularlyas they relate to music and sound, and be able to reflect critically on these issues.
• understand the multiple ways in which sound and music are used across a range of digital media,
• understand the relationship between new media and technological, psychological, social, political and economic realities,
• have at their disposal a number of theoretical tools that allow for more precise description and discussion of digital sound and its relationship to its cultural context,
• appreciate the contours of the academic and wider debates surrounding new media, particularlyas they relate to music and sound, and be able to reflect critically on these issues.
Mindestanforderungen und Beurteilungsmaßstab
There are no special requirements to take this course.The course will be assessed via a 1.5 hour exam consisting of short questions to test understanding of the lectures (50%) and a medium sized essay on a topic of the student's own choosing that tests the critical skills taught in the course (50%).UPDATE: Due to the pandemic measures, the course will be assessed by essay alone, which should be submitted online via Moodle a few days after the examination date.
Prüfungsstoff
Topics will include:
1. Interactions between popular music and multimedia in live performance,
2. Sound and music on websites,
3. Electronic music, electroacoustic/acousmatic music, sound art,
4. Evolution of old media like serial television, immersive video games, and postclassical cinema,
5. Digital animation,
6. Music videos,
7. Technologies of production and reproduction,
8. Haptic, interactive, and immersive modalities,
9. The role of music and digital technologies in shaping the lives of young people, and
10. How consumers appropriate the technology for their own purposes.Each lecture will focus on a theoretical approach to the topic taken from the following:
1. Audiovisual interrelations (relationship between sound and vision, acousmatics, diegesis),
2. Beyond audiovisuality (involvement of other senses – touch, taste, smell, movement),
3. Narrativity, semiotics and stylistic conventions,
4. Sound design,
5. Intertextuality,
6. Intermediality,
7. Technology (technological convergence vs unruliness),
8. Space and place,
9. Temporality and Synchronization,
10. Aestheticism or affect as resistance,
11. Embodiment,
12. War,
13. Economic factors,
14. Interactivity and immersion,
15. The voice,
16. Soundtrack elements,
17. Audiovisual ecology,
18. Cultural identity, affiliation, and spectatorship,
19. Daily life,
20. Performance.
1. Interactions between popular music and multimedia in live performance,
2. Sound and music on websites,
3. Electronic music, electroacoustic/acousmatic music, sound art,
4. Evolution of old media like serial television, immersive video games, and postclassical cinema,
5. Digital animation,
6. Music videos,
7. Technologies of production and reproduction,
8. Haptic, interactive, and immersive modalities,
9. The role of music and digital technologies in shaping the lives of young people, and
10. How consumers appropriate the technology for their own purposes.Each lecture will focus on a theoretical approach to the topic taken from the following:
1. Audiovisual interrelations (relationship between sound and vision, acousmatics, diegesis),
2. Beyond audiovisuality (involvement of other senses – touch, taste, smell, movement),
3. Narrativity, semiotics and stylistic conventions,
4. Sound design,
5. Intertextuality,
6. Intermediality,
7. Technology (technological convergence vs unruliness),
8. Space and place,
9. Temporality and Synchronization,
10. Aestheticism or affect as resistance,
11. Embodiment,
12. War,
13. Economic factors,
14. Interactivity and immersion,
15. The voice,
16. Soundtrack elements,
17. Audiovisual ecology,
18. Cultural identity, affiliation, and spectatorship,
19. Daily life,
20. Performance.
Literatur
Carol Vernallis, Amy Herzog & John Richardson (eds), The Oxford Handbook of Sound and Image in Digital Media (Oxford: OUP, 2013).
John Richardson, Claudia Gorbman, Carol Vernallis (eds), The Oxford Handbook of New Audiovisual Aesthetics (Oxford: OUP, 2013).
Jamie Sexton, (ed.), Music, Sound and Multimedia: From the Live to the Virtual (Edinburgh: Edinburgh University Press, 2007).
John Richardson, Claudia Gorbman, Carol Vernallis (eds), The Oxford Handbook of New Audiovisual Aesthetics (Oxford: OUP, 2013).
Jamie Sexton, (ed.), Music, Sound and Multimedia: From the Live to the Virtual (Edinburgh: Edinburgh University Press, 2007).
Zuordnung im Vorlesungsverzeichnis
BA: POP-V, FRE
MA: M01, M02, M03, M04, M05, M10, M11, M16
EC: POM2
MA: M01, M02, M03, M04, M05, M10, M11, M16
EC: POM2
Letzte Änderung: Fr 12.05.2023 00:17
The course will cover a selection of aesthetic, technological, socioeconomic, ethnographic, and empirical approaches to music in contemporary digital and multimedia contexts. We will strike a balance between a discussion of concrete issues illustrated with particular examples, on the one hand, and broader theoretical and practical contexts for the cases, on the other.We will pose a number of critical questions about new media and social problems. To what extent does participation in media ecologies hold people back from participating in the actual world or encourage them to continue destructive and dangerous consumptive practices? To what extent does digital connection mean less meaningful real-world connection? We will see that it is lazy to blame the technology itself, much less the supposedly degenerate, apathetic youth that consumes it. Instead we will follow the scholars who have made the effort to investigate the roles of public policy, politics, transnational corporations in disseminating the values that leave our youth feeling disempowered and alienated. And the stakes are high: it is only by understanding how social, economic and commercial pressures shape digital music practices that its potential for genuine unruliness, access and participation can be fully harnessed.