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080059 PS Case Study II/III: Sound and Songs in the Visual Arts (2025S)
Continuous assessment of course work
Labels
Registration/Deregistration
Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).
- Registration is open from Tu 18.02.2025 10:00 to Tu 25.02.2025 10:00
- Deregistration possible until Mo 10.03.2025 10:00
Details
Language: German
Lecturers
Classes (iCal) - next class is marked with N
- Wednesday 05.03. 12:30 - 14:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Wednesday 19.03. 12:30 - 14:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Wednesday 26.03. 12:30 - 14:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Wednesday 02.04. 12:30 - 14:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Wednesday 09.04. 12:30 - 14:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Wednesday 30.04. 12:30 - 14:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Wednesday 07.05. 12:30 - 14:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Wednesday 14.05. 12:30 - 14:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Wednesday 21.05. 12:30 - 14:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Wednesday 28.05. 12:30 - 14:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Wednesday 04.06. 12:30 - 14:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Wednesday 11.06. 12:30 - 14:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Wednesday 18.06. 12:30 - 14:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
- Wednesday 25.06. 12:30 - 14:00 Seminarraum 2 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-20
Information
Aims, contents and method of the course
This case study focuses on sound and music in modern and contemporary visual art. On the one hand, we examine phenomena such as sound sculptures and sound installations, the relationship between sound and (moving) images, the use of voices, songs or music in performance or video art. On the other hand, we analyze sonic aspects of artworks together on site in exhibitions, in conversation with artists or when visiting institutions dedicated to sound art. Together we will find a possible vocabulary to describe acoustic phenomena in art. With a focus on the audible, we will discuss ways of interpreting artworks and ask about their political dimensions, such as the use of sound and songs as a means of social criticism, identity construction or protest.Through intensive study of an art historical topic, students have expanded and consolidated the expertise, working techniques and intellectual skills they have acquired to date. They are able to independently gain an overview of the relevant literature and critically analyze it. They have begun to contribute to the art historical research process orally and in writing.
Assessment and permitted materials
- Active participation in discussions
- paper and presentation
- Consolidation in the form of a written term paper (15,000-20,000 characters continuous text) or a comparable experimental paper.By registering for this course, you agree that the automated plagiarism checking software Turnitin will check all written assignments submitted by you in moodle.
- paper and presentation
- Consolidation in the form of a written term paper (15,000-20,000 characters continuous text) or a comparable experimental paper.By registering for this course, you agree that the automated plagiarism checking software Turnitin will check all written assignments submitted by you in moodle.
Minimum requirements and assessment criteria
Minimum requirement:
- Compulsory attendance. In the event of absence due to illness or exceptional family circumstances, written proof must be submitted.
- For a positive completion of the course, all partial performances must be completed.
- Seminar paper: To ensure good scientific practice, the course instructor may invite students to a grade-relevant discussion after submission of the paper, which must be completed positively.Assessment criteria:
- Active participation in discussions 30%
- Paper and presentation 30%
- Consolidation in the form of a written term paper 40%Grading scale:
1 (very good) 100-90 points; 2 (good) 89-81 points; 3 (satisfactory) 80-71 points; 4 (sufficient) 70-61 points; 5 (insufficient) 60-0 points
- Compulsory attendance. In the event of absence due to illness or exceptional family circumstances, written proof must be submitted.
- For a positive completion of the course, all partial performances must be completed.
- Seminar paper: To ensure good scientific practice, the course instructor may invite students to a grade-relevant discussion after submission of the paper, which must be completed positively.Assessment criteria:
- Active participation in discussions 30%
- Paper and presentation 30%
- Consolidation in the form of a written term paper 40%Grading scale:
1 (very good) 100-90 points; 2 (good) 89-81 points; 3 (satisfactory) 80-71 points; 4 (sufficient) 70-61 points; 5 (insufficient) 60-0 points
Examination topics
The subject matter of the examination is the content of the course.
Reading list
The literature list will be continuously updated during the semester.
Beil 2012
Beil, Ralf, u. a. A house full of music : Strategien in Musik und Kunst ; [anlässlich der Ausstellung „A House Full of Music“, Mathildenhöhe Darmstadt, 13. Mai bis 9. September 2012]. 2012.Bull 2021
Bull, Michael. The Routledge Companion to Sound Studies. First edition. London, England : Zed Books, 2021.Engstrom/Stjerna 2009
Engstrom, Andreas, and Asa Stjerna. “Sound Art or Klangkunst? A Reading of the German and English Literature on Sound Art.” Organised Sound: An International Journal of Music Technology 14, no. 1 (2009): 11–18.Kelly 2011
Kelly, Caleb, Whitechapel Art Gallery, and MIT Press. Sound. London, 2011.Kesting / Hofer 2021
Sound / In Empty Rooms, FKW// Zeitschrift für Geschlechterforschung und visuelle Kultur, hrsg. Von Marietta Kesting und Kristina Pia Hofer, Nr. 69, April 2021.LaBelle 2020
LaBelle, Brandon. Background Noise: Perspectives on Sound Art. Second edition. London, England: Bloomsbury Academic, an imprint of Bloomsbury Publishing Inc, 2020.Lacey 2013
Lacey, Kate. Listening Public : The Politics and Experience of Listening in the Media Age. 1. publ. Cambridge: Polity, 2013.Schedel / Uroskie 2011
Schedel, Margaret, and Andrew V Uroskie. “Introduction: Sonic Arts and Audio Cultures: Writing about Audiovisual Culture.” Journal of Visual Culture 10, no. 2 (2011): 137–44.Sterne 2012
Sterne, Jonathan. The Sound Studies Reader. 1. publ. London [u.a.]: Routledge, 2012.Toop 2019
Toop, David. Inflamed Invisible: Collected Writings on Art and Sound, 1976-2018. Cambridge: Goldsmiths, University London, 2019.Voegelin 2010
Salomé Voegelin. Listening to Noise and Silence: Towards a Philosophy of Sound Art. New York: Continuum, 2010.Voegelin 2019
Voegelin, Salomé. The Political Possibility of Sound: Fragments of Listening. New York : Bloomsbury Academic, 2019.
Beil 2012
Beil, Ralf, u. a. A house full of music : Strategien in Musik und Kunst ; [anlässlich der Ausstellung „A House Full of Music“, Mathildenhöhe Darmstadt, 13. Mai bis 9. September 2012]. 2012.Bull 2021
Bull, Michael. The Routledge Companion to Sound Studies. First edition. London, England : Zed Books, 2021.Engstrom/Stjerna 2009
Engstrom, Andreas, and Asa Stjerna. “Sound Art or Klangkunst? A Reading of the German and English Literature on Sound Art.” Organised Sound: An International Journal of Music Technology 14, no. 1 (2009): 11–18.Kelly 2011
Kelly, Caleb, Whitechapel Art Gallery, and MIT Press. Sound. London, 2011.Kesting / Hofer 2021
Sound / In Empty Rooms, FKW// Zeitschrift für Geschlechterforschung und visuelle Kultur, hrsg. Von Marietta Kesting und Kristina Pia Hofer, Nr. 69, April 2021.LaBelle 2020
LaBelle, Brandon. Background Noise: Perspectives on Sound Art. Second edition. London, England: Bloomsbury Academic, an imprint of Bloomsbury Publishing Inc, 2020.Lacey 2013
Lacey, Kate. Listening Public : The Politics and Experience of Listening in the Media Age. 1. publ. Cambridge: Polity, 2013.Schedel / Uroskie 2011
Schedel, Margaret, and Andrew V Uroskie. “Introduction: Sonic Arts and Audio Cultures: Writing about Audiovisual Culture.” Journal of Visual Culture 10, no. 2 (2011): 137–44.Sterne 2012
Sterne, Jonathan. The Sound Studies Reader. 1. publ. London [u.a.]: Routledge, 2012.Toop 2019
Toop, David. Inflamed Invisible: Collected Writings on Art and Sound, 1976-2018. Cambridge: Goldsmiths, University London, 2019.Voegelin 2010
Salomé Voegelin. Listening to Noise and Silence: Towards a Philosophy of Sound Art. New York: Continuum, 2010.Voegelin 2019
Voegelin, Salomé. The Political Possibility of Sound: Fragments of Listening. New York : Bloomsbury Academic, 2019.
Association in the course directory
Last modified: Mo 27.07.2026 10:56