Stage and Film Music II. 2
Subject is not scheduled Not scheduled
| Code | Completion | Credits | Range | Language Instruction | Semester |
|---|---|---|---|---|---|
| 101SFHI2 | ZK | 2 | 2CT | English, Czech | summer |
Subject guarantor
Name of lecturer(s)
Learning outcomes of the course unit
Ability to accompany the spoken word with appropriate music, analyse a film clip, comprehend the stage / audiovisual polyphony of expressive means, advanced level control of an ensemble of virtual instruments in combination with a palette of acoustic sounds, quality studio mix production/ sound in a DAW environment, basic production relationships of a collaborative work.
Mode of study
Exercise
Prerequisites and co-requisites
not
Course contents
Learning objectives:
This is a two-semester course that can be taken in the first or second year of study. The prerequisite is the basic ability to work in a DAW environment (Pro Tools, Logic, Reaper, Live, etc.). At least a basic knowledge of virtual instruments, microphones, orchestration, harmony and other music theory disciplines is required.
This is a hands on class focusing on the compositional and technical aspects of audiovisual, stage and radio composition and the actual production of original music as accompaniment to a collaborative work.
Thematic areas:
The main areas of skill development include:
- the workflow of a stage/film music composer in the 21st century,
- communication in the production team, roles in a collaborative production, individual responsibilities in a team, the responsibility of the composer in a collaborative production,
- spoken word versus music - two rhythmic concepts,
- real and virtual musical instruments,
- MIDI, temp-track and the production of film scores / soundtracks,
- MIX of music and sound - why bad sound can be beautiful in film (and vice versa),
- copyright issues in the realisation of film music.
Recommended or required reading
Audio and video technologies of the Department of Composition.
Materials provided according to specific production during each semester (scripts, librettos, director's plans, etc.).
Recommended bibliography:
COX, Christopher - WARNER, Daniel (eds.). Audio culture: Readings in modern music, revised edition. New York London Oxford New Delhi Sydney: Bloomsburry Academic, 2017. 646 p. ISBN 978-1-5013-1836-8.
CHION, Michel. Audiovision. Columbia University Press 1994, ISBN 978-0-231-07899-3.
COOKE, Mervyn. The History of film music. Praha: Casablanca AMU Publishing Praha 2011. 567 p. ISBN 978-80-87292-14-3 il.
BORDWELL, David. The art of film: An introduction to the study of form and style. 1. edition. Praha: AMU Publishing, 2011. 639 p. ISBN 978-80-7331-217-6.
MCGUIRE, Sam, MATĚJŮ, Zbyněk. The art of digital orchestration. New York: Routledge, 2020. ISBN 978-0-367-36274-4.
Assessment methods and criteria
The grade is awarded on the basis of attendance (min. 90%), regular active work and a well-crafted compositional output. An important criterion is the individual creative progress of the student.
Note
not
Further information
No schedule has been prepared for this course