Improvisation and Performance

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Code Completion Credits Range Language Instruction Semester
101IMPE ZK 2 15 workshop hours (45 min) of instruction per semester, 39 to 49 hours of self-study English, Czech winter and summer

Subject guarantor

Slavomír HOŘÍNKA

Name of lecturer(s)

Slavomír HOŘÍNKA, Michal NEJTEK, Jan TROJAN

Learning outcomes of the course unit

Ability to analytically view and confidently orient oneself in the field of improvisational and performing arts, understanding and applying the acquired knowledge to one's own creative solo and collective practice.

Mode of study

workshop

Prerequisites and co-requisites

not

Course contents

Learning objectives:

This course is designed to create interdisciplinary and interfaculty collaboration in the performing arts. The aim is to create, under the guidance of one of the teachers, e.g. a site-specific performance, etc., in which the student actively participates as a performer. Teaching is always focused on the realisation of a specific project, and thus takes place in blocks by agreement.

The student should have at least a basic understanding of the function and meaning of improvisation, and should also distinguish its types and methods of application. Special emphasis is given on research into the relationship between improvisation and composition, as well as the influence of improvisation on a composer's thinking.

Through lecture, students are introduced to current trends and concepts in the field of improvisation and the performing arts on a creative, aesthetic and intermedia level. In the form of exercises, they are introduced to key themes in the field of performance music and intermedia in recent decades.

Thematic areas:

For obvious reasons, the course structure changes each semester. Students are introduced to the possibilities of specific performances no later than the first class of the new semester.

The course can be enrolled in repeatedly.

Recommended or required reading

Recommended bibliography:

BAILEY, Derek. Improvisation. Its nature and Practice in Music. New York: DaCapo Press, 1993. ISBN 13: 978-0-306-80528-8.

BARBA, Eugenio. The Paper Canoe. Taylor & Francis. London: 1995.

COX, Christoph, WARNER, Daniel. Audio Culture: Readings in Modern Music. New York: Bloomsbury Academic, 2017. ISBN 9781501318351.

OLIVEROS, Pauline. Deep Listening. A Composer’s Sound Practise. iUniverse, Inc., Lincoln, 2005.

OLIVEROS, Pauline. Sounding the Margins. Deep Listening Publications. Kingstone, 2010.

SCHAFER, R. M. The Soundscape: Our Sonic Environment and the Tuning of the World. Rochester, Destiny Books, 1994.

GRÜNZWEIG, Werner, SCHRÖDER, Gesine, SUPPER, Martin: SchNeBel 60. München: Wolke. Hofheim 1990.

TRUAX, B. Acoustic Communication. New Jersey: Ablex Publishing. Westport, 2001.

Web

Walter Thompson – soundpainting http://www.soundpainting.com/soundpainting/

Assessment methods and criteria

Examination is awarded on the basis of the realisation of a specific project under the guidance of one of the teachers during the semester. If the student cannot or for some reason does not want to participate in the ongoing projects, he/she must initiate and realise such a project themself in order to receive credit. Active participation and preparedness in rehearsals and performances are also assessed.

Note

None.

Further information

Course may be repeated

This course is an elective for all AMU students

Schedule for winter semester 2022/2023:

The schedule has not yet been prepared

Schedule for summer semester 2022/2023:

The schedule has not yet been prepared

The subject is a part of the following study plans