Stage and Film Music II. 1
|101SFHI1||credit||2||2 exercise hours (45 min) of instruction per week, 32 to 42 hours of self-study||English, Czech||winter|
Name of lecturer(s)
This is a two-semester course that can be taken in the first or second year of study. The prerequisite is the basic ability to work in a DAW environment (Pro Tools, Logic, Reaper, Live, etc.). At least a basic knowledge of virtual instruments, microphones, orchestration, harmony and other music theory disciplines is required.
This is a hands on class focusing on the compositional and technical aspects of audiovisual, stage and radio composition and the actual production of original music as accompaniment to a collaborative work.
The main areas of skill development include:
- the workflow of a stage/film music composer in the 21st century,
- communication in the production team, roles in a collaborative production, individual responsibilites in a team, the responsibility of the composer in a collaborative production,
- spoken word versus music - two rhythmic concepts,
- real and virtual musical instruments,
- MIDI, temp-track and the production of film scores / soundtracks,
- MIX of music and sound - why bad sound can be beautiful in film (and vice versa),
- copyright issues in the realisation of film music.
Ability to accompany the spoken word with appropriate music, analyse a film clip, comprehend the stage / audiovisual polyphony of expressive means, advanced level control of an ensemble of virtual instruments in combination with a palette of acoustic sounds, quality studio mix production/ sound in a DAW environment, basic production relationships of a collaborative work.
Prerequisites and other requirements
Audio and video technologies of the Department of Composition.
Materials provided according to specific production during each semester (scripts, librettos, director's plans, etc.).
COX, Christopher - WARNER, Daniel (eds.). Audio culture: Readings in modern music, revised edition. New York London Oxford New Delhi Sydney: Bloomsburry Academic, 2017. 646 p. ISBN 978-1-5013-1836-8.
CHION, Michel. Audiovision. Columbia University Press, 1994. ISBN 978-0-231-07899-3.
COOKE, Mervyn. The History of film music. Praha: Casablanca AMU Publishing Praha 2011. 567 p. ISBN 978-80-87292-14-3 il.
BORDWELL, David. The art of film: An introduction to the study of form and style. 1. edition. Praha: AMU Publishing, 2011. 639 p. ISBN 978-80-7331-217-6.
MCGUIRE, Sam, MATĚJŮ, Zbyněk. The art of digital orchestration. New York: Routledge, 2020. ISBN 978-0-367-36274-4.
Evaluation methods and criteria
Credit examination is awarded on the basis of attendance (min. 90%), regular active work and a well-crafted compositional output.
Schedule for winter semester 2023/2024:
|Date||Day||Time||Tutor||Location||Notes||No. of paralel|
Schedule for summer semester 2023/2024:
The schedule has not yet been prepared
The subject is a part of the following study plans
- Composition (Mg) from 2022/23 (required subject with the possibility of repeat registration)