Undergraduate Degree




DM2002 Sound Art

[Studio Contact Hours: 39 hours; Pre-requisites: NIL; Academic Unit: 3.0]




Academic Unit


3 AU

Course Description


Learning Objective

To introduce the practice and theory of sound art, supported by activities such as play, the making   of physical sound objects, improvisation, assemblage of sound-sculptures, basic recording, acoustics, MIDI controllers and digital sound processing, and sound diffusion.


The course is a platform for exploring the creative activity of sound art using contemporary techniques. It provides the grounding for an understanding of sound as an artistic medium, and as an integral part of multimedia art forms. Students will explore acoustic objects and software tools and will develop techniques and strategies for creating sound sculptures, installations and performances. They will be exposed to contemporary genres, exponents, practices and aesthetics. relevant to the field.

Course Outline




• Intro to course

2 - 6

• Physical Sound Objects

• Sound Sculpture

• Improvisation

• Basic Software Tools


• Mid Sem review of assignments

8 - 12

• Digital Sound Objects

• MIDI Controllers

• Interactive Installation

• Intermediate Software Tools


• Final review of assignments

Learning Outcome

The students will be familiar with the basic tools and techniques of sound art. They will learn to think of sound as a material that can be organised, transformed, generated and integrated into various areas of practice. On completion of this course students will have experienced hands-on practice in making sound objects, both physical and digital. They will have acquired a broad understanding of contemporary sound artists, artworks and aesthetics.

Student Assessment

  1. Assignment 1 (10%): Collecting and recording sound objects

  2. Assignment 2 (20%): Writing about Sound Art-related topic

  3. Assignment 3 (30%): Creating and Presenting an Original Work of Sound Art

  4. Continuous Assessment: 40%

Continuous assessment is based on in-class activities with the following components :

  • Student-initiated activity in group discussions

  • Effective leading and following in group work situations

  • Evidence of contribution to classmates' development and work


  1. Harvey, Jonathan, Mortous plangi in viva voce. [CD]

  2. Forney, Kristine & Machlis, Joseph. (1991). The Enjoyment of Sound. WW Norton 2001

  3. Lindborg, PerMagnus(2008). "Reflections on aspects of sound interactivity in performance situations." eContact, 4.10, 1-20. http://cec.concordia.ca/econtact/10_4/lindborg_interactivity.html

  4. Lindborg, PerMagnus (2008). "About TreeTorika: Rhetoric, CAAC and Mao.” The OM Composer's Book, volume two. France: Editions Delatour France / Ircam-Centre Pompidou.

  5. Paul Miller, Sound Unbound. MIT Press 0-262-63363-9

  6. Parmerud, Ake. Les objets obscures. [CD]

  7. Jean-Claude Risset, Fifty Years of Digital Sound for Music, Proceedings SMC'07, 4th Sound and Music Computing Conference, 11-13 July 2007, Lefkada, Greece http://smc07.uoa.gr/SMC07%20Proceedings/SMC07%20Paper%201.pdf

  8. Roads, Curtis (2004). The Path to Half-life 1. [article]

  9. Roads, Curtis (1996).The Computer Sound Tutorial. The MIT Press. ISBN-10: 0262680823

  10. Rudi, Jøran (1999). Routine mapping. [DVD]

  11. Simoni, Mary (2005). Analytical Methods of Electroacoustic Sound. Routledge, ISBN 0415976294

  12. Stockhausen, Karlheinz (1952-60). Elektronische Musik 1952-1960 [CD]

  13. Wishart, Trevor. (1996). Audible Design. Orpheus the Pantomime. ISBN 095103137.

  14. Wishart, Trevor. (1996). On Sonic Art. OPA and Harwood Academic Publishers Amsterdam.

DISCLAIMER. The present document is for orientation purposes only and does not in any way constitute a binding agreement. The lecturer maintains the right to change any part herein without prior notice or written justification if deemed advantageous to the course or for any other reason.