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Lecturer(s)
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Course content
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Theoretical explanation with examples of work with sound in verbal programs. 1. Editing as a technical means of expression and assembly (vertical, horizontal) organizing, combining meaning and giving it a specific expression and shape. 2. TEMPOPRYTMUS - organization of word, music and sound. Temporhythm is a medium that unites sounds, speech, music. Integration factor. 3. ACOUSTICAL CONTEXT - the word acts on the listener in connection with non-language factors, means of expression. Sound is not merely an illustration, but it stratifies, accentuates and forms, along with music and speech, a semantic system. 4. Conversion from written character system to sound system. ACOUSTIZATION - shortening of scope, reduction of space, reduction of motives, dialogue of 2 characters, stylization, fabrication, author´s interpretation. 5. Sound characteristics of speech: - intonation - tone modulation, melody, tempo - rhythm - formed by intonation, stress distribution, breathing, tension, pauses - articulation - articulation of sounds during pronunciation - intensity - voice emphasis, pause. breath, pace -pause - as a testimony, the narrator's secret breath, the pause is the words or tones that do not sound, pause is not silence, something pauses in pause 6. Semanticity based on content utterance, organization of words, their sound form. The voice must concentrate what the facial expression would otherwise help. 7. The media information symbol is FRAGMENT. Constant movement, articulation of reality by fragment. Lots of new unexpected and fragmentary information. Tsunami of New Contexts (Václav Bělohradský). 8. Media civilization is a civilization of electronic media. Perception of reality only through these media. He points to things and people. They are not interested in the interpretation. The articulation medium is neither faith nor technology, but MEDIA (convenient network connection). explanation of work with sound on the basis of assembly method principles 1 / Assembling as a creative method allows to organize musical and sound ambaláž with a clear conceptual word. 2 / Assembly is consistently achieved, efficiently and effectively increases and maximizes the efficiency of the interaction of word, sound and music. 3 / Assembling enables an accurate orchestration of all semantic components, makes them stand out and, by combining, confronting, intermingling, and folding, moves them to new and unique meanings.
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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)
- 25 hours per semester
- Individual project (40)
- 40 hours per semester
- Contact hours
- 39 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 |
| Competences |
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| Discussion |
| 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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