Lecturer
SMFA/Tufts | Boston, MA
2019—FALL
School of the Museum of Fine Arts / Tufts
The Practice of Everyday Listening examined a variety of conceptual approaches to the role of sound in everyday environments. Through soundwalks, field recording, listenings, readings, and other “ear cleaning” exercises, students developed critical listening and recordings skills. Strategies and techniques were drawn from texts including R. Murray Schafer’s acoustic ecology philosophy and then applied to the students' projects.
The Practice of Everyday Listening examined a variety of conceptual approaches to the role of sound in everyday environments. Through soundwalks, field recording, listenings, readings, and other “ear cleaning” exercises, students developed critical listening and recordings skills. Strategies and techniques were drawn from texts including R. Murray Schafer’s acoustic ecology philosophy and then applied to the students' projects.
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A History of Sonic Art examined the historical, theoretical and aesthetic bases of sound, noise, and music throughout modernity. The course took as its point of departure from the development of mechanical media following the stages of industrialization in the early twentieth century. Roughly chronological, the course traced the early European Avant-Garde through to post-war experimentation, and then onto postmodern sampling, laptop culture, and the acceptance and expansion of "sound art" within the institution of art.SMFA/Tufts 1630AM Wavefarm.org broadcast of student work. Orginal air date 12.18.2019. Produced by José A. Rivera.
Featuring work by Myshko Chumak (Enclosed Seas), Camila A. Sanchez-Longo (Sound of Resistance), Juyon Lee (Train Rides during Morning Rush Hour), David Mansour (The Air Chase), Ben Mertik (untitled), Logan Fang Yee (untitled), Kayla Le Heux (untitled), Jamie Doo (Sonic Kintsugi), and Kaycee Feldman’s Harmony of Disparity. Intro sounds by Proxemia (José A. Rivera, Electric Streams of Wind).