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Lecturer(s)
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Course content
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1. What is sound?; 2. Sound quality; 3. Method of recording; 4. Technical parameters; 5. Sound and space; 6. Sound and Time; 7. Sound and its non-/natural environment; 8. Sound and its relationship to the human body; 9. Sound perception (juxtaposition of inner and outer world); 10. Real and artificial sound recording; 11. I see, therefore I hear - I hear, therefore I see; 12. Meaning of sound in relation to another (visual) medium; 13.1 Acoustic ecology; 13.2 Micro vs. macro - psychological functions of sound "zooming".
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Learning activities and teaching methods
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Cooperative instruction, Project-based instruction, Students' portfolio, One-to-One tutorial, Skills demonstration, Task-based study method, Lecture with visual aids, Practicum
- Practical training (number of hours)
- 39 hours per semester
- Individual project (40)
- 40 hours per semester
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| prerequisite |
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| Knowledge |
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| recall the basic sound recording procedures is familiar with programs for sound recording editing |
| Skills |
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| make a sound recording to consider stylish and other contexts of sound perceive and reflect the expressive and content side of the soundtrack communicate their knowledge to other members of the group |
| Competences |
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| N/A |
| N/A |
| learning outcomes |
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| Knowledge |
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| editing as a technical means of expression and organizing assembly, combining meaning and giving it a specific expression and shape, tempo - organization of word, music and sound acoustic context converting a written character system to an audio system sound characteristics of speech: intonation, tone modulation, melody, tempo, rhythm, articulation, intensity, pauses, semantics the theoretical construct of media civilization as an electronic media civilization |
| Skills |
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| records sound, voice, verbal speech through microphone it connects, assembles, blends materially diverse and meaningful sound ingredients (noise, music, word). uses sound images to evoke the atmosphere and evoke emotion through musically sound ambalge it shakes, ripples, decides and changes the semantic component of the text shifts the importance of sound recording and greater audiovisual composition exaggerates, ironizes, or intensifies or transparently exaggerates the content of verbal communication |
| Competences |
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| N/A |
| teaching methods |
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| Knowledge |
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| Lecture with visual aids |
| Skills |
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| Skills demonstration |
| Field trip |
| Competences |
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| Discussion |
| Students' portfolio |
| One-to-One tutorial |
| assessment methods |
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| Knowledge |
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| Continuous assessment |
| Skills |
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| Skills demonstration during practicum |
| Competences |
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| Individual presentation at a seminar |
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Recommended literature
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Bláha, Ivo. Zvuková dramaturgie audiovizuálního díla. 2., dopl. vyd. Praha : Akademie múzických umění, 2006. ISBN 80-7331-010-4.
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Mukařovský, Jan. Dvě studie o dialogu (s přílohou "Zvuková a významová výstavba dramatického dialogu"), in: Prolegomea Scénografické encyklopedie, část 5. Praha, 1971.
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Rataj, Michal. Elektroakustická hudba a vybrané koncepty radioartu : problematika vymezování tvůrčích pozic v prostředí akustických umění z pohledu domácí scény radioartu. 1. vyd. V Praze : KANT, 2007. ISBN 978-80-86970-31-8.
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Syrový, Václav. Technické základy elektroakustické hudby : Určeno pro posl. fak. hud.. 1. vyd. Praha : SPN, 1984.
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