Visualization of psycho-acoustic space

Subject guarantor:

Vladimír MERTA

Name of lecturer(s):

Vladimír MERTA

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.

Recommended optional programme components:

„Akce Hlasohled“ (Voicescope Event), lead by Ridina Ahmed, PetrVáša.

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:

0. 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).

1. Style and the stylization of music perception

2. Typical use

3. Word-visual processing of student initiatives

4. Changing roles - „director“ and „ensemble“.

5. 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.

6. Visualization of the heard, improvised scores.

7. Visual manifestation, inspired by selected music processes.

8. 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.

Planned learning activities and teaching methods:

We continually work on storyboards, playing them with improvised musical accompaniment.

Assessment methods and criteria:

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

Course web page:

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

Schedule for winter semester 2013/2014:

The schedule has not yet been prepared

Schedule for summer semester 2013/2014:

The schedule has not yet been prepared

The subject is a part of the following study plans:

• Animation - Master (qualification subject)