Composition 2

Display Schedule

Code	Completion	Credits	Range	Language Instruction	Semester
204MDCO2	credit	2	2 hours (45 min) of instruction per week, 29 to 39 hours of self-study	English	summer

Subject guarantor

Lukáš JIŘIČKA

Name of lecturer(s)

Lukáš JIŘIČKA

In this course we focus on working with dramaturgy within composition, but also recording or creating recordings of music, sound, noise and various vocal expressions. It is a setting in which we explore the limits of performativity in sound, a dramaturgy based on the encounter of different sound objects. We will focus on the development of sound and music compositions, building their distinctive dramaturgy, finding adequate ways to technological, thematic and media solutions, revealing the different qualities of analogue and digital environments, deciding the creation of fully autonomous and original works or the creative appropriation of recordings and sounds of other authors, with decisions for the justification of sampling, ethics and context of the elements cited. All projects are discussed collectively and are subject to the dramaturgical and compositional suggestions of all participants. The course also focuses on music history, particularly 20th and 21st century music, radio art, and other hybrid, multimedia forms in which the performative aspect of sound objects is present.

In the second semester there is the possibility of a more extensive performative gesture, in which, however, the musical aspect is the dominant element. This leads to decisions in the use of the specific acoustics of the space, the physical and vocal expressions of the performers, instruments and sounding objects.

Learning outcomes

Course graduate:

fully one autonomous musical composition; we will focus on their dramaturgical structure;
enhance the ability to listen to various sound, and therefore not only musical, works;
they will deepen their knowledge of the history of various musical and sound forms; forms of recording, compositional solutions;
will deepen the ability to understand the powerful potential of the audio sphere.

Prerequisites and other requirements

None.

Literature

Attali Jacques: Noise: The Political Economy of Music

Nicolas Bourriaud: Postproduction

Cage John: Silence, Composition in Retrospect, Selected Letters

Cox Christoph, Warner Daniel (eds.): Audio Culture

Crowley David: Ultra Sounds

Crowley David, Muzyczuk Daniel (ed.): Notes from the Underground, Sounding the Body electric

Denning Michael: Noise Uprising (The Audiopolitics of a world musical Revolution)

Desi Thomas, Salzmann Eric: The New Music Theatre

Dolar Mladen: A Voice and nothing more

Goebbels Heiner: Ästhetik der Abwesenheit / Aesthetics of Absence, Komposition als Inszenierung

Hegarty Paul: Noise Music: A History

Kahn Douglas, Whitehead Gregory: Wireless Imagination

Kahn Douglas: Noise, Water, Meat; Earth Sound Earth Sinal, Mainframe Experimentalism, Source

Kendrick Lynne, Roesner David (ed.) – Theatre Noise

Kittler Friedrich: Gramofon Film Typewriter, Optical Media

Nyman Michael: Experimental Music: Cage and Beyond

Obrist Hans-Ulrich: A Brief History of New Music

Rebstock Matthias, Roesner David: Composed Theatre

Reynolds Simon: Rit it up and start again: Postpunk 1978-1984, Retromania

Ross Alex: The Rest is Noise

Stubbs David: Future Days: Krautrock and the Building of Modern Germany

Toop David: Ocean of Sound, Haunted Weather, Rap Attack No.3, Into the

Maelstrom: Music, Improvisation and the Dream of Freedom: Before 1970

Wilson Peter Niklas: Here and now

Žižek Slavoj, Dolar Mladen: Opera’s Second Death

Evaluation methods and criteria

Completion of attendance and elaboration of the assigned task.

Note