Kompozice 1

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Garant předmětu

Lukáš JIŘIČKA

Jméno vyučujícího (jména vyučujících)

Lukáš JIŘIČKA

Katedra

Předmět zajišťuje Katedra alternativního a loutkového divadla

Obsah

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 first semester we develop pure sound composition.

Výsledky učení

Course graduate:

• fully one autonomous musical composition; we will focus on their dramaturgical structure;
• will cultivate the ability to listen to various sound, and therefore not only musical, works;
• they will get acquainted with the history of various musical and sound forms, forms of recording, compositional

solutions;

• will cultivate the ability to understand the performative potential of the audiosphere.

Předpoklady a další požadavky

None.

Literatura

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

Hodnoticí metody a kritéria

75% attendance and elaboration of the assigned task.

Poznámka

None.

Rozvrh na zimní semestr 2024/2025:

• Týdenní přehled
• Seznam

Rozvrh na letní semestr 2024/2025:

Rozvrh zatím není připraven

Předmět je součástí následujících studijních plánů

• Directing of Devised and Object Theatre (Povinné předměty s možností opakovaného zapsání)