Music Direction 10

Subject guarantor:

Sylva STEJSKALOVÁ, Jaroslav RYBÁŘ

Name of lecturer(s):

Sylva STEJSKALOVÁ, Jaroslav RYBÁŘ

Learning outcomes of the course unit:

1. To create a comprehensive idea of the tasks of the music director in the recording process, editing and final completion of a music recording.

2. Development of artist performance analysis skills.

3. Devleopment of music recording sound quality analysis skills.

4. Expanding knowledge of music literature with particular consideration of the historical style and composition technique of contemporary music.

5. On-going acquaintance with the development and basic technical principles of sound recording.

Mode of study:

Presentation of music director issues in the studio. The widest spectrum of this activity (ex: the genre of the recorded music, historical music, modern music, etc, also the psychological aspect of the job of the music director, etc.)

Listening to recordings, music performance and sound treatment analysis. Comparing various performances and discussions about them.

Student performance analysis in the Studio Practice course.

Prerequisites and co-requisites:

Listening ability. Extensive knowledge of music theory (harmony, counterpoint, music form, instrument study). Ability to analyse a work of music. Presumed knowledge of the content from the previous year of study.

Recommended optional programme components:

Copious visits to concert productions, that is opera performances accompanied by critique and analytical perception. Listening to the greatest possible number of recordings in an effort to create one's analytical and critical approach. Visits to professional recording studios.

Course contents:

Lecture section (review of all issues regarding the subject)

1) Brief history of the technical development of sound recording

2) Execution of a sound recording from a historical development perspective

3) The history of the development of sound recording as an aesthetic phenomenon

4) Various types of of sound recording from the perspective of the manner of execution and use

5) The aesthetics of modern music recording

6) The acoustic space and its importance in executing a music recording

7) The historical development of the music director profession

8) The role and status of the music director in a modern professional recording team

9) Psychological aspects of music director work

10) Technical aspects of recording

11) The microphone - its potential and limits

12) Monophonics, Stereophonics and multi-channel technology

13) Recording preparations

14) Tasks of the music director during the generation of a recording

15) Differences in working procedures in relation to the type of music recorded

16) Editing a music recording - work procedures

17) Development of editing technology

18) Aesthetic aspects of music recording editing assembly

19) Final recording work - mastering

20) Supplementary adjustments to the original acoustic recording space - artificial reverb

21) Arranging the composition, respectively, its parts into the recording final version

22) Specific issues of recording and developing live recordings

23) Adjustment and development of historic recordings using modern technology

24) Documentation for a music recording

25) Issues of a music recording's dramaturgy on modern media

Class section

1. Interpretation analyss of important recordings. Analysis of their sound concept (character of the acoustic space, measure of reverb, manner of recording, attendance or absence). Discussion.

2. Discussions over thesis topics

3. Analysis and discussions on student performance in recording in the Work in the Studio course.

4. Discussions on the thesis topics

Recommended or required reading:

Music recordings (CD, DVD,LP, cassette).

1. Key recordings of Czech chamber, symphonic and opera music (ex. Smetana: Má vlast - Talich, Ančerl, Neumann, Smetáček, Bělohlávek, Kubelík, etc.)

2. Important recordings of world music (ex.. historically scholarly recordings of J.E. Gardiner - Mozart: Koncerty pro klavír, Beethoven: Symfonie etc.).

Accompanying notation material

Texts:

Jaroslav Rybář: Hudební režie

Instruction texts dealing with issues in recording classical music and music direction. (This text does not currently have the official textbook form for the Music Direction course)

.

Publications:

Václav Syrový: Akustika

Václav Vlachý: Praxe zvukové techniky

Ladislav Šíp: Nahrávání a reprodukovaná hudba

Ladislav Šíp: Pěvci před mikrofonem

Václav Zamazal: Hudební nástroje před mikrofonem

Planned learning activities and teaching methods:

lecture, classes

Assessment methods and criteria:

Credit is awarded based on these criteria:

1. Overall activity in class discussions

2. Completion of the state test on the course lectures.

Course web page:

Note:

none

Schedule for winter semester 2012/2013:

The schedule has not yet been prepared

Schedule for summer semester 2012/2013:

The schedule has not yet been prepared

The subject is a part of the following study plans:

• Obor Hudební režie (Mg) (compulsory subject of the main qualification)