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Lecturer(s)
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Derfl Drahomír, MgA. Ph.D.
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Course content
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The theoretical part: 1. a/tonality; 2. noise; 3. sound as architecture; 4. sound installation; 5. sound art; 6. radio art; 7. electroacoustic music; 8. musique concréte; 9. synthesizers (from Stockhausen to Kraftwerk); 10. acoustic ecology. Practical part: 1. audio/musical material; 2. method of recording audio material; 3. creation, manipulation, sound character; 4. hierarchy; 5. relationship to the listener; 6. relationship to another medium.
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Learning activities and teaching methods
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Cooperative instruction, Project-based instruction, Students' portfolio, One-to-One tutorial, Skills demonstration, Task-based study method, Lecture with visual aids, Practicum
- Practical training (number of hours)
- 39 hours per semester
- Individual project (40)
- 40 hours per semester
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| prerequisite |
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| Knowledge |
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| recall the basic sound recording procedures is familiar with programs for sound recording editing |
| Skills |
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| make a sound recording to consider stylish and other contexts of sound perceive and reflect the expressive and content side of the soundtrack communicate their knowledge to other members of the group |
| Competences |
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| N/A |
| N/A |
| learning outcomes |
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| Knowledge |
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| editing as a technical means of expression and montage organizing, connecting meaningful content and giving it a specific expression and shape, basic musical compositions, the use of sound installations, the history of sound art in the 20th and 21st centuries and its historical context, procedures for creating a sound installation, sound art, sound object, sound sculpture, etc., music/sound analysis, critical reflection. |
| Skills |
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| records sounds, voice, verbal expression through a microphone, connects, assembles, blends materially diverse and meaningfully different sound ingredients (movements, music, words), uses sound images to create atmosphere and evoke emotion, shifts the meaning of the sound recording and the larger audiovisual composition, creates a sound/musical study as an autonomous output or as part of an intermedial work. |
| Competences |
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| N/A |
| teaching methods |
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| Knowledge |
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| Lecture with visual aids |
| Skills |
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| Skills demonstration |
| Competences |
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| Discussion |
| assessment methods |
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| Knowledge |
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| Continuous assessment |
| Skills |
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| Skills demonstration during practicum |
| Self-evaluation |
| Peer evaluation of students |
| Competences |
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| Individual presentation at a seminar |
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Recommended literature
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Bláha, Ivo. Zvuková dramaturgie audiovizuálního díla. 2., dopl. vyd. Praha : Akademie múzických umění, 2006. ISBN 80-7331-010-4.
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Mukařovský, Jan. Dvě studie o dialogu (s přílohou "Zvuková a významová výstavba dramatického dialogu"), in: Prolegomea Scénografické encyklopedie, část 5. Praha, 1971.
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Rataj, Michal. Elektroakustická hudba a vybrané koncepty radioartu : problematika vymezování tvůrčích pozic v prostředí akustických umění z pohledu domácí scény radioartu. 1. vyd. V Praze : KANT, 2007. ISBN 978-80-86970-31-8.
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Syrový, Václav. Technické základy elektroakustické hudby : Určeno pro posl. fak. hud.. 1. vyd. Praha : SPN, 1984.
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