Course Description

Sonic Painting is an interdisciplinary, hands-on experience that invites students to delve into the intricate relationship between the physicality of sound and its profound cultural significance. Throughout this course, students will explore the art of recording and producing sound while contemplating complex concepts, such as superstring theory, alongside the emotional and societal impact sound and music have on individuals and communities.

The course will feature opportunities to engage in field recordings, sound design, and the creation of original musical compositions. Students will be exposed to the pioneering work of artists like J-Dilla, exploring how he revolutionized rhythm and challenged conventional notions of time in music. Through books such as Dilla Time by Dan Charnas, This Is Your Brain on Music by Daniel J. Levitin, and The Sound Book by Trevor Cox, students will critically analyze the science, psychology, and societal effects of sound.

In addition, the class will embark on field trips to places such as foley sound studios, music venues, and professional recording studios. These experiences will foster an appreciation of how sound behaves in different environments and help students understand acoustics, production techniques, and the materiality of sound.

Texts

• Dilla Time by Dan Charnas
• This Is Your Brain on Music: The Science of a Human Obsession by Daniel J. Levitin
• The Sound Book: The Science of the Sonic Wonders of the World by Trevor Cox

In addition to these readings, students will analyze audio samples, films, and music compositions related to course themes. Field recordings and sound projects will be a key part of the practical curriculum, complemented by scholarly discussions from the assigned texts.

Requirements

• Field Recordings: Students will conduct field recordings, exploring both urban and natural environments, learning about acoustic properties and sound manipulation.
• Sound Design Projects: Each student will produce original sound compositions, incorporating field recordings, digital sound synthesis, and sampling techniques.
• Analysis of Rhythm and Time: Projects will focus on reinterpreting time signatures and rhythm patterns influenced by artists such as J-Dilla, challenging traditional time structures.
• Field Trips: Students will visit a foley sound studio, attend live musical performances to analyze acoustics, and tour a professional recording studio to understand sound production environments.
• Class Discussions: Students will engage in discussions on the cultural and psychological impacts of sound, analyzing course readings and applying concepts to their projects.

About the Instructor(s): Johannes Barfield

Johannes Barfield is a museum-exhibiting sound artist and interdisciplinary creator with over twenty years of experience in digital sound and music production. His expertise spans creating soundscapes, musical scores, and live performances designed to evoke mood and enhance the conceptual depth of his projects. He has contributed to numerous sound and musical productions for films and multimedia exhibitions.

Johannes has collaborated with renowned visual artists and poets, including Stephanie J. Woods, Laura Neal, and Joy Priest. Notable collaborations include:

2024 Kent State University Art Department (the genius of play, collaboration with Stephanie J. Woods, sound design and music by Johannes Barfield)

2020 The Fine Arts Work Center (De-Extinction Elixir, collaboration with poet Joy Priest, We Had Dreams Named After Us)

2023 Harvey B. Gantt Center for African American Art + Culture (where the sun shines, collaboration with Stephanie J. Woods)

His sound work has also been featured in solo exhibitions at institutions such as the Greenville Museum of Art (MARAUDERS), UNC Charlotte (my sun is black as the glowing sea by night), and the Fine Arts Work Center (De-Extinction Elixir).