Stage and Film Music II. 2

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Subject guarantor

Name of lecturer(s)

Michal RATAJ

Contents

Learning objectives:

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.

Thematic areas:

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 responsibilities 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.

Learning outcomes

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

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Literature

Audio and video technologies of the Department of Composition.

Materials provided according to specific production during each semester (scripts, librettos, director's plans, etc.).

Recommended bibliography:

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

The grade is awarded on the basis of attendance (min. 90%), regular active work and a well-crafted compositional output. An important criterion is the individual creative progress of the student.

Note

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Schedule for winter semester 2023/2024:

The schedule has not yet been prepared

Schedule for summer semester 2023/2024:

• Week view
• List

The subject is a part of the following study plans

• Composition (MA) - from 2022/23 (required subject with the possibility of repeat registration)
• Composition (Mg) from 2022/23 (required subject with the possibility of repeat registration)