Theory of Composition 6
| Code | Completion | Credits | Range | Language Instruction | Semester |
|---|---|---|---|---|---|
| 186TS6 | ZK | 2 | 1PT+1ST | English, Czech | summer |
Subject guarantor
Name of lecturer(s)
Learning outcomes of the course unit
The student understands the concepts discussed and can integrate them into appropriate conceptual structures. He/she is well-oriented in the paradigm discussed, understands its specific features and connections to traditional composition, knows the advantages and disadvantages of the approaches discussed, and is thus prepared to construct and reflect on his/her own compositional systems.
Mode of study
lecture, seminar
Prerequisites and co-requisites
Regular participation in classes and active participation in discussions. Studying the assigned study literature for the final test.
Course contents
Learning objective:
This course introduces students to selected concepts related to the paradigm shift in music composition after 1950. The approaches of specific composers are discussed under the given headings. Critical readings of original texts and discussion are an essential part of the study.
Thematic areas:
- crisis of serialism, new forms
- Ligeti's conception
- stochastic music
- chance in the work of the New York School composers
- graphic and verbal scores
Recommended or required reading
Required bibliography:
CAGE, John. Silence. Praha: Tranzitdisplay, 2010.
Grafické partitury a koncepty : Graphic scores and concepts. Praha: Audio ego, 1996.
LIGETI, György. Metamorphoses of Musical Form. Die Reihe 7 (english edition): Form-Space. London: Bryn Mawr, Universal Edition, 1965, s. 5-19.
XENAKIS, Iannis. Formalized music. Hillsdale: Pendragon Press, 1992.
Reccomended bibliography:
Contemporary Music Review. 26/2. Taylor and Francis, 2007.
IDDON, M. New Music at Darmstadt : Nono, Stockhausen, Cage, and Boulez. New York: Cambridge University Press, 2013. ISBN 978-1-107-03329-0.
JAKELSKI, Lisa. Making new music in Cold War Poland : the Warsaw Atumn Festival, 1956 - 1968. Oakland, California: University of California Press, 2017. ISBN 978-0-520-29254-3.
Assessment methods and criteria
An oral examination in which the student demonstrates knowledge of the material specified in the course annotation. 70 % essay on the topic given by the examiner, 30 % additional questions from the material covered during the semester.
There is no minimum attendance requirement.
Note
not
Schedule for winter semester 2021/2022:
The schedule has not yet been prepared
Schedule for summer semester 2021/2022:
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06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
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| Date | Day | Time | Tutor | Location | Notes | No. of paralel |
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| Thu | 12:00–13:30 | Iva OPLIŠTILOVÁ | Učebna 2057 Liechtenstein Palace |
lecture parallel1 |
The subject is a part of the following study plans
- Composition-Specialization electroacoustic music (Mg) (required subject with the possibility of repeat registration)
- Composition-Specialization Film Music (Mg) (required subject with the possibility of repeat registration)
- Composition-Specialization Composition (Mg) (required subject with the possibility of repeat registration)