Visualization of psycho-acoustic space

Subject is not scheduled Not scheduled

Code Completion Credits Range Language Instruction Semester
309MVPAP Z 1 1/D Czech summer

Subject guarantor

Name of lecturer(s)

Learning outcomes of the course unit

Musical-breathing reaching of a space. Acoustic signals, music archetypes first-hand. Depicting one's own and other's musical ideas, experiencing movement elements in music, recording them in the form of a storyboard.

Mode of study

A summer workshop course in Poněšice.

Prerequisites and co-requisites

One's own body, suggestions of costuming, stylized gestures, props gained from the surroundings. Giving life to things for accompanying the on-going pixilization exercises.

Course contents

Supplemental interactive exercises in the syncretic perception of music in animated films in which the students themselves recognize the differences in perception, expression and communication of musical ideas and impulses.

The exercises are based on defined situations which the director or animator may face:

  1. Dispersing tension, breathing exercises, communal experience of the fundamental concepts with which the composer works (rhythm, tempo, tone, tone color, theme, course of the melody, refrain, Major-minor feeling, building tension and its release, harmonization and its development (escalation, contrast, similarity, imitation).
  2. Style and the stylization of music perception
  3. Typical use
  4. Word-visual processing of student initiatives
  5. Changing roles - „director“ and „ensemble“.
  6. Word and sound, articualtion, solfege, borrowed themes (folk balads, modern songs) and their creative modifications (tempo changes, tone character, syncopation, persiflage). Variation of their use in Animated film.
  7. Visualization of the heard, improvised scores.
  8. Visual manifestation, inspired by selected music processes.
  9. Music presentation - fundamentals of space perception, working with echo/reverberation and real surrounding sounds.

Processes used:

Tuning (breathing exercises, exercise for reducing nervousness, anchoring, focusing on performance now and here).

Joint clapping, solfege, singing sonorant nasal words, gestural-movement experience of a text.

Feedback, sharing feelings from the music, investigating verbal expression of a musical feeling.

A composer's methods of address (sound schemes, dynamics, the sound plans and their fading)

Subsequence:

Students clarify concepts which they hear during instruction, experience first-hand the differences in the director's and composer's perception and expression

Recommended or required reading

V. Marek: Tajné dějiny hudby, J. Fujak: Slovenské hudební alternativy, časopisy Uni, Harmonie, webové stránky muzikantů, U-Tube.

Assessment methods and criteria

Together we discuss strengths and weaknesses, and decide on supplementary efforts.

Note

This course uses realistic surroundings, teaches how to listen and react to the sounds of nature around. This elucidates the creative resources of a musician. The course begins with a prepared introduction and concludes with a communal reflection upon impulses taken in by the students. This is also a experimental method for the instructor. This avoids typical instruction methods.

The website for the course:

http://blog.baraka.cz/2009/10/destova-hul/

Vlastimil Marek

http://blog.baraka.cz

www.baraka.cz

Further information

No schedule has been prepared for this course

The subject is a part of the following study plans