Orchestration II. 1
Name of lecturer(s)
Zdeněk BARTOŠÍK, Slavomír HOŘÍNKA
Learning outcomes of the course unit
The student is able to think about orchestration from different perspectives, and is able to work with the outer and inner space of a musical composition.
Mode of study
Prerequisites and co-requisites
Knowledge at the level of the previous semester.
This is a two-semester course that can be taken in the first or second year of study. The prerequisite is mastery of organology and advanced techniques of individual instruments, as well as the acoustic basics of orchestration.
The aim is to acquire new perspectives on orchestration as one component of complex compositional strategies. It is based on the understanding of orchestration as the art of manipulating space (whether real or virtual) through sound resonating in time. In addition, students are introduced to the use of technology to analyze sound and the application of its possibilities in musical composition.
1/ Music in space, space in music
- Human spatial hearing in relation to orchestration
- change of perceptual scale
- distance, magnitude
- foreground / background
- panorama, median plane
- depth (perspective)
- reverb (orchestral pedal)
- dislocation, circum-space, elevation
- spatial dramaturgy
2/ Topic according to the needs and focus of the students
Recommended or required reading
BRECH, Martha – PALAND, Ralph (eds.). Kompositionen für hörbaren Raum: Die frühe elektroakustische Musik und ihre Kontexte = Compositions for Audible Space: The Early Electroacoustic Music and its Contexts. Bielefeld: transcript Verlag, 2015.
OPLIŠTILOVÁ, IVA. „Paradigm transformation“ [online]. Živá hudba 2016/7. Retrieved at: <https://ziva-hudba.info/paradigm-transformation/> [2021-12-13].
HOŘÍNKA, Slavomír. „Changing the Scale of Perception: A Composer’s View on Spatial Composition Strategies and the Spiritual Aspect of Music“ In: Ivan Moody (ed.). Enlightenment & Illumination: Essays on Sacred Music East and West. Univerzita Karlova — Pedagogická fakulta, 2020, s. 221-243.
Scores of analysed works
ADLER, Samuel. The Study of Orchestration. New York: Norton, 1989.
AUGOYARD, Jean-François – TORGUE, Henry. Sonic Experience: a Guide to Everyday Sounds. Montreal: McGill-Queens universiry Press, 2011.
DEL MAR, Norman. Anatomy of the Orchestra. London: Faber and Faber, 2009.
GIESELER, Walter – LOMBARDI, Luca – WEYER, Rolf-Dieter. Instrumentation in der Musik des 20. Jahrhunderts. Celle: Moeck, 1985.
RASMUSSEN, Karl Aage - LAURSEN, Lasse. The Idiomatic Orchestra [online]. 2015. [cit. 2017-10-28]. Dostupné z: http://theidiomaticorchestra.net.
SCIARRINO, Salvatore. Le figure della musica: da Beethoven a oggi. Milano: Ricordi, 1998.
Assessment methods and criteria
During the semester, the student will produce the required number of short studies on each topic. Their submission and a minimum of 70% attendance is a condition for the award of credit. Verification of the achieved knowledge takes place orally in the form of analysis of selected scores in terms of orchestration and joint discussion concerning the discussed material.
Course web page
Course may be repeated
Schedule for winter semester 2021/2022:
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Schedule for summer semester 2021/2022:
The schedule has not yet been prepared
The subject is a part of the following study plans
- Composition-Specialization electroacoustic music (Mg) (required optional subject)
- Composition-Specialization Film Music (Mg) (required optional subject)
- Composition-Specialization Composition (Mg) (required main subject)