TIM_MK_002 From Electronic Music to Live Coding Performance II

Faculty of Arts
Spring 2025
Extent and Intensity
1/1/0. 6 credit(s). Type of Completion: zk (examination).
Teacher(s)
doc. PhDr. Martin Flašar, Ph.D. (lecturer)
Guaranteed by
doc. PhDr. Martin Flašar, Ph.D.
Department of Musicology – Faculty of Arts
Supplier department: Department of Musicology – Faculty of Arts
Timetable
Thu 20. 2. 8:00–9:40 N41, Thu 20. 3. 8:00–9:40 N41, Thu 10. 4. 8:00–9:40 N41, Thu 15. 5. 8:00–9:40 N41
Course Enrolment Limitations
The course is also offered to the students of the fields other than those the course is directly associated with.
The capacity limit for the course is 150 student(s).
Current registration and enrolment status: enrolled: 11/150, only registered: 0/150, only registered with preference (fields directly associated with the programme): 0/150
fields of study / plans the course is directly associated with
Course objectives
The course serves to build a discursive framework within which to contextualize and interpret the aesthetic conditions of the emergence of EA music in the 20th and 21st centuries. The course includes active discussion of selected texts on the aesthetics of EA music to build students' interpretative competencies.
Learning outcomes
Students will be able to identify, classify and interpret various forms of technologically produced music of the 20th century with overlapping to the present times.
Syllabus
  • Music and new media - a marriage of convenience?
  • Music, science, technology
  • INTERPRETATION: M. Heidegger - The Question of Technology
  • Music in the process of abstraction, digitization and materialization
  • INTERPRETATION: Z. Bauman - Liquid Arts
  • Technorealist conceptions of music
  • INTERPRETATION: P. Boulez - Technology and the Composer
  • Post-technological solutions of music
  • INTERPRETATION: K. Cascone - The Aesthetic of Failure
Literature
    required literature
  • HEIDEGGER, Martin. Otázka techniky. Praha: Oikúmené, 2004.
  • BAUMAN, Zygmunt. Liquid arts. Theory Culture & Society, 2007, 24.
  • BOULEZ, Pierre. Technology and the Composer. Leonardo, vol. 11, no. 1, 1978. Dostupné z: www.jstor.org/stable/1573509.
  • CASCONE, Kim. The Aesthetics of Failure: 'Post-Digital' Tendencies in Contemporary Computer Music. Computer Music Journal, 24:4 Winter. MIT Press, 2002.
    recommended literature
  • HOLMES, Thom. Electronic and experimental music : technology, music, and culture. 3rd ed. New York: Routledge, 2008. xviii, 462. ISBN 9780415957823.
  • Sound unbound : sampling digital music and culture. Edited by DJ Spooky That Subliminal Kid. Cambridge, Mass.: MIT Press, 2008. xi, 426. ISBN 9780262633635.
  • MANOVICH, Lev. The language of new media. Cambridge, Mass.: MIT Press, 2000. xxxix, 354. ISBN 0262133741.
Teaching methods
Lectures, interpretation of compulsory texts provided in study materials in IS.
Assessment methods
Attendance 75%, active discussion, submission of an argumentative essay on 1 selected compulsory text from the Study Materials (range 4-5 SP).
Language of instruction
Czech
Study support
https://is.muni.cz/auth/el/phil/jaro2025/TIM_MK_002/index.qwarp
Further comments (probably available only in Czech)
The course is taught annually.
Information on the extent and intensity of the course: 80 hodin výuky/ semestr.
The course is also listed under the following terms Spring 2020, Spring 2021, Spring 2022, Spring 2023, Spring 2024, Spring 2026.
  • Enrolment Statistics (recent)
  • Permalink: https://is.muni.cz/course/phil/spring2025/TIM_MK_002