Teorie zvukové tvorby 3

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Garant předmětu

Jméno vyučujícího (jména vyučujících)

Martin OŽVOLD

Katedra

Předmět zajišťuje Katedra zvukové tvorby

Obsah

This seminar introduces musique concrète and electroacoustic composition as applied creative foundations for contemporary sound design. Moving beyond conventional, illustrative „see-a-thing, hear-a-thing“ sound-to-picture hierarchies, the course reframes audio as an autonomous, plastic medium capable of driving narrative, symbolic, and emotional structure. Students examine pivotal 20th-century ruptures in listening—from early noise manifestos and acousmatic reduction to schizophonia—while critically evaluating listening practices through Jonathan Sterne’s sound studies framework.

Through hands-on studio work in Cockos REAPER, GRM Tools Atelier, and SoundThread, students learn to treat recorded audio as malleable material („immaterial clay“). Key topics include Carl John Boland’s inter-modal strategy, the integrated soundtrack (*sound design as the new score*), Denis Smalley’s spectromorphology, Adrian Moore’s Theory of Opposites, granular micro-time manipulation, and fixed 3D stereo spatialization. The course culminates in two major fixed-stereo composition projects evaluated through masterclass peer critique.

II. COURSE STRUCTURE

Class 1: Introduction to the Sonic Art Approach to Sound Design

Class 2: The 20th-Century Sonic Rupture & Acoustic Communication

Class 3: The Sound Object & Acousmatic Phenomenon

Class 4: Plunderphonics, Collage & Montage (Project 1 Assigned: Voice)

Class 5: Transformation I: The Theory of Opposites & GRM Tools

Class 6: Transformation II: Micro-Time & SoundThread (Project 2 Assigned: 2-Second Element)

Class 7: The Complex Object (In-Class Performative Recording Session)

Class 8: Sound Organization, Spectromorphology & Fixed Stereo Form

Class 9: Final Portfolio Review & Masterclass Critique (NOT AN EXAM)

Final Exam: Separate Dedicated Date (TBA)

Výsledky učení

Decouple audio from visual dependence to construct autonomous, metaphoric, and integrated soundtracks.

Apply reduced listening (écoute réduite) and spectromorphological analysis to analyze and transform raw sound objects (objets sonores).

Master advanced studio transformations across macro and micro timescales using granular synthesis, parallel comb filtering, and spectral processing.

Critically evaluate audition and studio tools, deconstructing the „audiovisual litany“ to understand sound within its broader cultural, historical, and ideological contexts.

Předpoklady a další požadavky

Literatura

TZT 01 Povinná Literatúra:

Filimowicz, M (ed.) (2019) Foundations in Sound Design for Linear Media Murray, L,(2019) Sound Design Theory and Practice

Collins, K (2020) Studying Sound: A Theory and Practice of Sound Design Sterne, J (2012) Sound Studie Reader

Moore, A (2016) Sonic Art: Introduction to Electroacoustic Music

TZT 01 Odporúčaná Literatúra:

Holmes,T (2016) Electronic and Experimental Music

Schaeffer,P.(2012) In Search of a Concrete Music

Smalley, D (1994) Defining Timbre - Refining Timbre

Smalley, D (1997) ​Spectromorphology: Explaining sound-shapes

Kahn,D - Noise, Water, Meat: A History of Sound in the Arts

Cox,Ch,Warner, D (ed.) (2017): Audio Culture: Readings in Modern Music N.Collins, J. D’Escrivan (2017) The Cambridge Companion to Electronic Music Truax. B (1983) - Acoustic Communication

Hugill, A. (2019) The Digital Musician

Moore, A (2016)-Sonic Art: Introduction to Elecro-acoustic Music

Hodnoticí metody a kritéria

Rozvrh na zimní semestr 2026/2027:

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Rozvrh na letní semestr 2026/2027:

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Předmět je součástí následujících studijních plánů

• Zvuková tvorba - bakalář_2020 (Povinné předměty)