This class examines the ways humans experience the realm of sound and how perceptions and technologies of sound emerge from cultural, economic, and historical worlds. In addition to learning about how environmental, linguistic, and musical sounds are construed cross-culturally, students learn about the rise of telephony, architectural acoustics, and sound recording, as well as about the globalized travel of these technologies. Questions of ownership, property, authorship, and copyright in the age of digital file sharing are also addressed. A major concern will be with how the sound/noise boundary has been imagined, created, and modeled across diverse sociocultural and scientific contexts. Auditory examples--sound art, environmental recordings, music--will be provided and invited throughout the term.

Give an introduction formants

In this video segment from WILD TV, learn about bees and the different techniques for handling them.

This module represents comments regarding the basic choral tone. It is further illustrated by following modules.

Many artists are in the world of making art. Each brings a separate approach, voice, or style that makes it their very own. This module helps you determine what your own personal approach may be and what makes your methods special.

This course focuses on developing and refining the skills that will you need to express your voice more effectively as an academic writer. To this end, we'll think about writing as an act of self-discovery, as an act of critical thinking, and as an act of communicating with an audience. Throughout the semester, students will focus on writing as a process of drafting and revising to create essays that are lively, clear, engaging and meaningful to a wider audience.

Subject focused on forms of exposition, including narration, critique, argument, and persuasion. Frequent writing assignments, regular revisions, and short oral presentations are required. Readings and specific writing assignments vary by section. See subject's URL for enhanced section descriptions. Emphasis is on developing students' ability to write clear and effective prose. Students can expect to write frequently, to give and receive response to work in progress, to improve their writing by revising, to read the work of accomplished writers, and to participate actively in class discussions and workshops. Focus: What can we believe when we read an autobiography? How do writers recall, select, shape, and present their lives to construct life stories? Readings that ground these questions include selections from Incidents in the Life of a Slave Girl by Linda Brent (pseudonym for Harriet Jacobs), "A Sketch of the Past" by Virginia Woolf, Notes of A Native Son by James Baldwin, "The Achievement of Desire" by Richard Rodriguez, The Woman Warrior by Maxine Hong Kingston, and "Our Secret" by Susan Griffin. Discussion, papers, and brief oral presentations will focus on the content of the life stories as well as the forms and techniques authors use to shape autobiography. We will identify masks and stances used to achieve various goals, sources and interrelationships of technical and thematic concerns, and "fictions" of autobiographical writing. Assignments will allow students to consider texts in terms of their implicit theories of autobiography, of theories we read, and of students' experiences; assignments also allow some autobiographical writing.

Analyze an input speech sample and return the vowels that are present through formant analysis.

This course comprises a broad survey of texts, literary and philosophical, which trace the development of the modern world from the seventeenth to the early twentieth century. Intrinsic to this development is the growth of individualism in a world no longer understood to be at the center of the universe. The texts chosen for study exemplify the emergence of a new humanism, at once troubled and dynamic in comparison to the old. The leading theme of this course is thus the question of the difference between the ancient and the modern world. Students who have taken Foundations of Western Culture I will obviously have an advantage in dealing with this question. Classroom discussion approaches this question mainly through consideration of action and characters, voice and form.

This module represents an introduction to the production of a singing tone. Comparison with producing a sound on instruments is made.

This sheet music collection consists of approximately 9,000 items published from 1800 to 1922, although the majority is from 1850 to 1920 [view finding aid for the collection]. The bulk was published in many different cities in the United States, but some of the items bear European imprints. Most of the music is written for voice and piano; a significant minority is instrumental. Notable in this collection are early pieces by Irving Berlin and Jerome Kern, as well as music by other popular composers such as Victor Herbert, Jean Schwartz, Paul Dresser, Ernest R. Ball, Gussie L. Davis, Charles K. Harris, and George M. Cohan. Numerous arrangements of classical tunes by Bach, Beethoven, Schubert and other famous classical composers are also well-represented.

At the completion of this lesson you will be able to describe a situation in writing, express your amazement that a problem has been not been solved and ask with some urgency for it to be resolved as soon as possible.

Focuses on music and emotions. Working in groups, children compose a piece describing a human emotion and using only the voice.

Seminar explores approaches to representation for very distributed cinematic storytelling. The relationship between story creation and story appreciation is analyzed. Readings are drawn from literary, cinematic criticism, as well as from artist's descriptions of interactive, distributed works. Students analyze a range of storytelling techniques, develop a previsualization, story construction, or audience participation model. Individual or group final projects.

SPARK visits with San Francisco-based composer/performer and audio artist Pamela Z who works primarily with voice, live electronic processing, and sampling technology, including the BodySynth, a device that allows her to manipulate sound with physical gesture. This Educator Guide addresses the role and uses of technology in the arts.

Lesson plans for two activities that give students a chance to improvise vocal lines within a repetitive harmonic framework.