Student Works / Master
Master Defense 2020
public exam
29–30 October 2020 | online and live
![SoundSMaster2020-fbevent-01](https://archive.sounds.berlin/wp-content/uploads/2022/03/SoundSMaster2020-fbevent-01-e1668451447642.png)
Design © Kathrin Scheidt
Georg-Neumann-Saal
UdK Berlin
Einsteinufer 43
10587 Berlin-Charlottenburg
The first class of the Sound Studies and Sonic Arts Masters program, redesigned in 2017, publicly defended their master’s theses on 29 and 30 October 2020 at the Georg-Neumann Hall of the UdK Berlin.
![](https://archive.sounds.berlin/wp-content/uploads/2020/10/SoundSMaster2020-Flyer-squareDAYS-03-e1668451417771-1024x1024.png)
12–1 pm Nicolas Daleman Schröder/Koch
Machine Listening in Theory and Practice
Sonification
1:15–2:15 pm Kassiani Goulakou Kuhn/Schulz
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
2:45–3:45 pm Konstantin Kazhev Kuhn/Poznańska
Language as a Sound Object
Soundwalk and Temporal Aspects of the Artist Practice
4–5 pm Izabel Carnio Teles de Menezes Kuhn/Eriksen
Graphic Notation in multiple interpretations
Amazon´s male white bellbird call and it´s implications within animal acoustic communication
![](https://archive.sounds.berlin/wp-content/uploads/2020/10/SoundSMaster2020-Flyer-squareDAYS-05-e1668451399875-1024x1024.png)
12–1 pm Nina Guo Zyla/Straebel
Jennifer Walshe´s ‘Nature Data’: Realization, Embodiment, and the New Discipline
Sound as Punchline
1:15–2:15 pm David Rimsky-Korsakow Sanio/Straebel
Klangliche Aspekte in Hermann Nitsches orgien mysterien
Obsolete Media : zeitgenössiche Kompositionsstrategien theater
2:45–3:45 pm Auguste 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
4–5 pm Alejandro Mosso Ishida/Kuhn
Compositional strategies with light and sound in installation art
Intrumentality as a condition for liveness in music performance