Rhythm Ensemble 3
| Code | Completion | Credits | Range | Language Instruction | Semester |
|---|---|---|---|---|---|
| 174RA3 | credit | 4 | 24 exercise hours (45 min) of instruction per semester, 82 to 102 hours of self-study | English, Czech | winter |
Subject guarantor
Name of lecturer(s)
Contents
Learning objectives:
Rhythm Ensemble 3 is a course common to all undergraduate years that focuses on the teaching of rhythms, primarily using principles based on traditional West African music. Indeed, it is from this music that the basic rhythmic material originated, which eventually made its way in various forms to both North and South America as part of the slave trade, and its subsequent development gave rise to various other genres that are now a necessary part of the jazz musician's expressive vocabulary.
In the course of their studies, students seek to identify with various musical styles that are rooted in the oral tradition and where the bar line, like the first period, may not play an important role, if it exists at all. During the course of their studies, they will all play a variety of traditional percussion instruments and learn to perceive irregular rhythmic patterning (called clave) into which they must then fit their own improvisational language. These rhythmic skills require several years of effort that can be further developed throughout life. The teaching of this course emphasizes musical practice, as it builds on musical traditions with a minimum of theory and theoretical material. Students learn most music by ear and are encouraged to be able to transcribe the rhythmic, melodic and harmonic components of the recordings presented on their own.
Thematic areas:
General characteristics of West African music with emphasis on traditional music from Benin
a) CLAVE (Timeline) principle - introduction to the basic rhythmic phrase for the genre and its application within the musical ensemble
b) Clap Game - a game promoting rhythmic independence between the different layers that must be played simultaneously through singing, clapping and movement
Learning outcomes
The student is oriented to the general characteristics of West African music with an emphasis on traditional music from Benin. Is able to transcribe the rhythmic, melodic and harmonic components of submitted recordings. Is open to experimentation. Is able to work responsibly and without prejudice with unusual forms of notation. Is innovative in finding optimal solutions in the interpretation of compositions.
Prerequisites and other requirements
Prerequisites: Instrument playing 2, Ensemble playing 2, Rhythm ensemble 2, Improvisation of jazz instruments 2, Jazz theory 2, Ear training 2
Quizzes: Instrument Playing 3, Ensemble Playing 3, Jazz Instrument Improvisation 3, Jazz Theory 3, Ear Training 3, Jazz Music History 1
Literature
Recommended reading:
COLEMAN, Steve. Resistance Is Futile: Law of Balance [audio recording on CD]. France: Label Bleu, 2006.
HAMMOND, Doug. A Real Deal: Singing Smiles / Miss Cat / Perspicuity [sound recording on CD]. Paris: Heavenly Sweetness, 2007.
HANCOCK, Herbie. Possibilities: Sister Moon [sound recording on CD]. New York: Vector/Hear Music, 2005.
HOLLAND, Dave. Prime Directive: Looking Up [sound recording on CD]. Munich: ECM Records, 2000.
LOUEKE, Lionel. Gilfema: Tin Min [sound recording on CD]. New York: ObliqueSound, 2005.
Evaluation methods and criteria
The student will produce a transcription of the given recording. Next, he/she must sing a particular song and at the same time play a clave as an accompaniment.
Active participation in the exercises
Other requirements: attendance of at least 60%
Note
not
Schedule for winter semester 2023/2024:
The schedule has not yet been prepared
Schedule for summer semester 2023/2024:
The schedule has not yet been prepared
The subject is a part of the following study plans
- Jazz Interpretation (Bc) (required main subject)
- Jazz Studies (MA) - from 2023/24 (required subject with the possibility of repeat registration)