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Term
Time & Day Offered
Level
Credits
Course Duration

Sound Art — MCO4136.01

Instructor: Sergei Tcherepnin
Credits: 2
This class takes an interdisciplinary approach to sound, examining sound as a relatively new medium within contemporary art. We will look at how sound has entered the discourse of contemporary art practices since the mid-20th century through now, focusing on conceptual and performance art practices, and how they set the stage for sound art. Students will be asked to create new

Sound Bites — FRE4403.01

Instructor: Noëlle Rouxel-Cubberly
Credits: 4
In this course, students will examine various elements of French “oraliture” (or oral literature and culture transmitted by word of mouth) that will also allow for a focus on the language itself. Through the exploration of a wide variety of “sound bites” – songs, poems, podcasts, riddles, and tales – students will hone their linguistic skills and enrich their understanding of

Sound Design for Moving Images — MSR4120.01

Instructor: Senem Pirler
Credits: 2
This class is an introduction to the creative approaches and applications of sound design and audio production for moving images. In this course, we will explore the techniques used in the audio post-production for moving images and focus on the role of the sound designer. We will focus on designing sounds using Foley, sound effects editing, and post-processing. Students will

Sound Design for Moving Images — MSR4120.01

Instructor: Senem Pirler
Credits: 4
This class is an introduction to the creative approaches and applications of sound design and audio production for moving images. In this course, we will explore the techniques used in audio post-production for moving images and focus on the role of the sound designer. We will focus on designing sounds using Foley, sound effects editing, and post-processing. Students will learn

Sound Design for Moving Images — MSR4120.02

Instructor: senempirler@bennington.edu
Credits: 2
This class is an introduction to the creative approaches and applications of sound design and audio production for moving images. In this course, we will explore the techniques used in the audio post-production for moving images and focus on the role of the sound designer. We will focus on designing sounds using Foley recordings, sound effects editing, and post-processing.

Sound Design for Moving Images — MSR4120.01

Instructor: Senem Pirler
Credits: 2
This class is an introduction to the creative approaches and applications of sound design and audio production for moving images. In this course, we will explore the techniques used in the audio post-production for moving images and focus on the role of the sound designer. We will focus on designing sounds using Foley recordings, sound effects editing, and post-processing.

Sound Design for Theater, Dance, Performance — MSR2239.01

Instructor: Eli Crews
Credits: 2
This course will cover the creative process of designing sound for theatrical performance. We will explore various approaches to design for live theater and dance through close examination of scripts and movement scores, and develop compositional and/or sound-based material appropriate to the context. Hardware and software tools used to express sound designs will be

Sound in Site: Performance and Installation — MCO4702.01

Instructor: Nicholas Brooke
Credits: 4
This course is for students who want to create site-based performances and installations with an electronic or performative sound component. Throughout the semester, students will investigate relationships between sound and site, informed by their exploration of sonic materials, listening, site-visits and readings that address contemporary critical and conceptual issues related

Sound in Site: Performance and Installation —

Instructor: Andrea Parkins
Credits: 4
This course is for students who want to create site-based performances and installations with an electronic or performative sound component. Throughout the semester, students will investigate relationships between sound and site, informed by their exploration of sonic materials, listening, site-visits and readings that address contemporary critical and conceptual issues related

Sound Installation — Canceled

Instructor: TBA
Credits: 2
In this course we'll examine and create sound pieces that differ from traditional musical performances in that they are longer, larger, and/or (more directly) interactive. Topics will include: process music and algorithmic composition; mechanized and computerized sound making; strategies for remote power, processing, and amplification; and sensors. Students will critique

Sound Joined Rooms — MSR2244.01

Instructor: Sergei Tcherepnin
Days & Time: WE 10:00am-11:50am
Credits: 2

Pioneering sound artist Maryanne Amacher created architectural sonic environments that were at once mystical, ethereal, and intensely physical. In her body of work, which she called, “Music for Sound Joined Rooms,” she would probe and test architecture with the equipment kept in just two suitcases. In this course, students with little or no previous knowledge of electronic

Sound Manifestos — MHI2106.01

Instructor: Nicholas Brooke
Credits: 2
This course will examine the peculiar literary and musical interactions that happen when sound artists trumpet their innovations in short prose form. Starting with Russolo’s Futurist Manifesto, we will listen to the manifestos of sound-related movements, from Dada to Fluxus to minimalism, using a broad, multidisciplinary approach. Readings will include Marinetti, Cage, Satie,

Sound Manifestos —

Instructor: Nicholas Brooke
Credits: 2
This course will examine the peculiar literary and musical interactions that happen when sound artists trumpet their innovations in short prose form. Starting with Russolo’s Futurist Manifesto, we will listen to the manifestos of sound-related movements, from Dada to Fluxus to minimalism, using a broad, multidisciplinary approach. Readings will include Marinetti, Cage, Satie,

Sound, Space, Time — MUS2151.01

Instructor: Nicholas Brooke
Credits: 4
In this class, we’ll examine changing concepts of musical time in the emerging field of sound art, a hybrid form that can be described as sculpting with sound. We will focus on the approach of pioneering composers who pushed the envelope of musical notions of time such as Xenakis, Amacher, Young, and Scelsi, with special emphasis on sonic texture and shape,

Sounding Home: Music of Migration, Memory, and Exile — MHI2109.01

Instructor: Kerry Ryer-Parke
Credits: 4
We live in an era when millions of people across the globe—victims of forced migration, asylum seekers, refugees, and mobile workers—are on the move. Music often can tell more about the migration experience than statistical analysis and surveys. How might songs transcribe and preserve the identities, memories, traumas, joys, and hopes of individuals and whole communities?

Sounding Home: Music, Migration and Diaspora — MET2240.01

Instructor: Carly Rudzinski
Credits: 4
We live in an era when millions of people across the globe—victims of forced migration, asylum seekers, refugees, and mobile workers—are on the move. Music often can tell more about the migration experience than statistical analysis and surveys. This course is about the experiences of immigrants and refugees in the United States and elsewhere, investigating the role

Sounding Physics — MCO4113.02

Instructor: Thessia Machado
Credits: 2
This class focuses on using simple mechanical devices (dc motors, solenoids, or vibration) to elicit sounds from myriad physical materials. We’ll discover the innate characteristics of materials themselves and manipulate forces that activate them, such as gravity, elasticity, tension, and friction. The class will workshop approaches to creating devices through the use of

Soundtracks for Media and Live Performance — MSR4261.01

Instructor: David Baron
Credits: 2
A course on sound design for fixed media and live performance which looks at how we technically construct the “real”. We will begin by looking at soundtracking for film, and the often subtle line between sound design and music, by spotting, finding tempo and moods in film/video sources. We then look at various live sound design projects, culled from diverse dance and drama

Soup Thinking/Thinking Soup — APA2185.02

Instructor: benhall@bennington.edu
Credits: 4
This course will present methods of soup preparation, soup making, and serving that will propose and present, various natural/biological and social/societal understandings of the world because first and foremost food is a narrative. Each of the methods can be combined and/or reduced/disassembled to create other soups. Participants will leave with a solid understanding of how

South Sudan Live: The Challenges and Opportunities in a Conflict Zone — APA2460.01

Instructor: Susan Sgorbati
Days & Time: WE 8:30am-12:10pm
Credits: 2

This hybrid class will examine the current situation in South Sudan. By interviewing in real time, farmers, journalists, students and artists onthe ground in South Sudan, we will hear the voices of people who are directly experiencing living in a conflict zone.  We will also study the history, politics, economics and ecology of South Sudanb to inform our conversations.

Space is the Place: The Music and Life of Sun Ra — MPF2146.01

Instructor: Michael Wimberly
Credits: 2
This course takes a look at the life of Herman Blount, a prolific jazz composer, pioneer of electronic music and creator of the Sun Ra Arkestra. Blount, aka Sun Ra, was quite controversial because of his eclectic music, "theatrical" live performances and unorthodox lifestyle. He claimed that he was of the "Angel Race" and not from Earth, but from Saturn (after experiencing an

Space on Stage — DRA2142.01

Instructor: Jiyoun Chang
Credits: 4
How do designers determine how a play will look on stage? How do they evoke the time, space, and future of the play, relate it to the world we know, but also reflect their own personal experience of architecture, time, and space? All these elements influence how we interpret a story, and the people who live in that story. Students will learn how to approach the design process

Space Shaping Image Making — ARC2208.01

Instructor: Farhad Mirza
Days & Time: WE 10:00am-11:50am & WE 2:10pm-4:00pm
Credits: 4

Can architecture be understood in the same terms as a photograph? A piece of writing? A painting? A film? Or does it require its own vocabulary, rules, precedents, and sensibilities?

Space Shaping Image Making II: Readings — ARC4119.01

Instructor: Farhad Mirza
Days & Time: TU 4:10pm-6:00pm
Credits: 2

“Not long ago, a near prerequisite for vanguard architecture was an engagement with theory; lately it has become an acquaintance with art” or so observed Hal Foster in his 2011 book ‘The Art Architecture Complex.’ While ideas about what constitutes cutting edge architecture may have transformed in the decade since, entanglements between art and architecture and

Space Shaping Image Making: Readings — ARC2207.01

Instructor: Farhad Mirza
Days & Time: TU 2:10pm-4:00pm
Credits: 2

“Not long ago, a near prerequisite for vanguard architecture was an engagement with theory; lately it has become an acquaintance with art” or so observed Hal Foster in his 2011 book ‘The Art Architecture Complex.’ While ideas about what constitutes cutting edge architecture may have transformed in the decade since, entanglements between art and architecture and