Experimental Music Today

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Name of lecturer(s):

Learning outcomes of the course unit:

The aim of this block of screenings, recordings comments and presentations is to offer students a bearing in aesthetics, thought, creative processes and social groups which are part of a significant part of the market for today's original music. Ideally, students broaden awareness of how to diversly proceed toward listening. The story of today's musi may be often taken as broad inspiration for viewing that other than sound/music material. Lecture presents a number of short screenings and presentations of recordings and as well, offers for each topic a small interactive task.

Mode of study:

presentation and examples

Prerequisites and co-requisites:

none

Course contents:

EXPERIMENTAL MUSIC TODAY:

styles, aesthetics, society and community in the time of the post-underground

Lector: Pavel Klusák

Friday 10.4.2015 - 10:00-16:00 at FAMU Screening room

Concert for Marlboro and Bacardi: Sampling as a route to conceptual art in electronic music. Matmos, Matthew Herbert and other composers of topical music projects.

Matrix and dataplex. Multimedia electronic scene as a research lab. On the borders of physics, minimalism and pure design: Raster Noton (Carsten Nicolai / Alva Noto, Ryoji Ikeda), rays of light and sound.

- Why improvisation. Creation rejecting screenplay and scor, process of generation as performance. Free improvisation: important music today?

- Retromania. Age of open archives and influence of past styles on todays creations. Ritual and education: Hypnagogic return to the media of our childhood.

Screening 1: Film-opera of the minimalist Steve Reich - Three Tales (about catastrophes and their media image during the last century)

Saturday 11.4.2015, 10:00 - 16:00, FAMU Screening room.

- DIY stories. Aesthetics and politics of self-sufficiency in music - from original musical instruments through rejecting studio music production to independent distribution and statutes.

- Noise. That is the art of noise and hums: Social, political, musical, event, communicational, subversive.

- Bee symphony. Sounds of the real world: new material, new structures, new documentation, new spirituality, new listening to the world.

- Anatomy of a hipster. „Nulta Leta“ history of hipsterdom and cultural impact of the era after the death of subculture.

Screening II: Telling tales in contemporary music/multimedia works (selection of example).

Recommended or required reading:

Alex Ross: Zbývá jen hluk. Dokořán/Argo, 2012.

Audio Culture: Readings In Modern Music. Ed. Christoph Cox, Daniel Warner, Continuum 2004.

David Toop: Ocean of Sound. Serpent's Tail, 1995.

Wire (měsíčník, Velká Británie & jeho webový archiv) http://www.thewire.co.uk/

Assessment methods and criteria:

The condition for the award of credit is 100% attendance and completion of assignements.

Course web page:

Note:

Pavel Klusák was born the same year as Wes Anderson, Marjane Satrapi and Olga Šípková. He is interested in music, sound and its context. He has been full-time since 1999. He writes for Lidovy Noviny and A2. He has be an editor for Respekt. He broadcasts on Radio Wave and works with Czech Television (among others Tečka páteční noci). For ten years he led the Music Odessey sectopm at the Karlovy Vary International Film Festival (2003-2012). He has lectured at UMPRUM. Other collaborations: Divadlo Archa, Česká centra, MFDF Jihlava, Playboy, Jan Gogola. He specializes on the experimental scene and in Touching Songs. He graduated from Film Faculty at Charles University (Bohemian Studies) and FAMU (Scriptwriting and Dramaturgy). He has 3 children and 1 brother.

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