Schedule

SoundS Master Defense 2020 | schedule

The public exams will take place on 29/30 October 2020 at the Georg-Neumann Hall of the UdK Berlin. 

ONLINE: We will be streaming the exam so you can attend right from your couch. Please make sure your microphones are turned off - sadly we can not accommodate questions from our online audience. https://udk-berlin.webex.com/meet/sounds


LIVE:
Georg-Neumann-Saal ​UdK Berlin
Einsteinufer 43 (Jazz-Building)
Berlin-Charlottenburg
If you would like to attend, please check back for updates about the current situation and don't forget to bring your mask!

 

Date/Time

Student

Advisor

Advisor

Topic

2nd Topic (for the oral exam)

Thursday     

29.10. / 12:00-13:00

Daleman

Schröder

Koch

Machine Listening in Theory and Practice

Sonification

29.10. / 13:15-14:15

Goulakou

Kuhn

Schultz

Post-Digital Archive as Compositional Material:A Study on Medical Archives and Internal Body Sounds

Socio-political readings of sound in the pre-phonographic era;the work of Mark M. Smith on 19th century America

29.10. / 14:45-15:45

Kazhev

Kuhn

Poznańska

Language as a Sound Object

Soundwalk and Temporal Aspects of the Artist Practice

29.10. / 16:00-17:00

Carnio Teles de Menezes

Kuhn

Eriksen

Graphic Notation in multiple interpretations

Amazon´s male white bellbird call and it´s implicationswithin animal acoustic communication 

 

 

Friday     

30.10. / 12:00-13:00

Guo

Zyla

Straebel

Jennifer Walshe´s 'Nature Data':Realization, Embodiment, and the New Discipline

Sound as Punchline

30.10. / 13:15-14:15

Rimsky-Korsakow

Sanio

Straebel

<im angstschrei> - klangliche Aspektein Hermann Nitschs orgien mysterien theater

Obsolete Media: zeitgenössiche Kompositionsstrategien

30.10. / 14:45-15:45

Vickunaite

Kuhn

Sanio 

Slow tempo, solitude and boredom in art and performative thinkingand sound as an instrument for navigating attention in performance

Nonstandard sound design decisions in cinema

30.10. / 16:00-17:00

Mosso

Ishida

Kuhn

Compositional strategies with light and sound in installation art

Intrumentality as a condition for liveness in music performance