Stage and Film Music II. 1
| Code | Completion | Credits | Range | Language Instruction | Semester |
|---|---|---|---|---|---|
| 101SFHI1 | credit | 2 | 2 exercise hours (45 min) of instruction per week, 32 to 42 hours of self-study | English, Czech | winter |
Subject guarantor
Name of lecturer(s)
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 responsibilites 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.
Learning outcomes
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.
Prerequisites and other requirements
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Literature
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.
Evaluation methods and criteria
Credit examination is awarded on the basis of attendance (min. 90%), regular active work and a well-crafted compositional output.
Note
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Schedule for winter semester 2023/2024:
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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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| Mon | 10:45–12:15 | Michal RATAJ | LAB Liechtenstein Palace |
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Schedule for summer semester 2023/2024:
The schedule has not yet been prepared
The subject is a part of the following study plans
- Composition (MA) - from 2022/23 (Required subjects with the possibility of repeat registration)
- Composition (Mg) from 2022/23 (Required subjects with the possibility of repeat registration)