TIM_MK_002 From Electronic Music to Live Coding Performance II

Faculty of Arts
Spring 2024
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 22. 2. 8:00–9:40 N51, Thu 21. 3. 8:00–9:40 N51, Thu 16. 5. 8:00–9:40 N51
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: 8/150, 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 in the 2nd half of the 20th century with overlapping to the present times.
Syllabus
  • 1. Music and new media - a marriage of reason?
  • 2. Music, science, technology
  • 3. INTERPRETATION: M. Heidegger - The Question of Technology
  • 4. The music of man, the music of machines
  • 5. INTERPRETATION. Bauman - Liquid Arts
  • 6.-7. Music in the process of abstraction, digitalization and materialization
  • 8. INTERPRETATION: F. Nake - There Should Be No Computer Art
  • 9. Technorealist conceptions of music
  • 10. INTERPRETATION: P. Boulez - Technology and the Composer
  • 11. Technoskeptic conceptions of music
  • 12. INTERPRETATION. Cascone - The Aesthetic of Failure
  • 13. notes on  live coding performance
  • 14. INTERPRETATION: N. Collins - Generative Music and Laptop Performance
Literature
    recommended literature
  • Sound unbound : sampling digital music and culture. Edited by DJ Spooky That Subliminal Kid. Cambridge, Mass.: MIT Press, 2008. xi, 426. ISBN 9780262633635.
  • HOLMES, Thom. Electronic and experimental music : technology, music, and culture. 3rd ed. New York: Routledge, 2008. xviii, 462. ISBN 9780415957823.
  • FLAŠAR, Martin. Elektroakustická hudba [online]. 1 vyd. Brno: Masarykova univerzita, 2015 [cit. 2018-01-23]. Elportál. Dostupné z: . ISBN 978-80-210-7944-1, 978-80-210-7945-8 (epub). ISSN 1802-128X.
  • MANOVICH, Lev. The language of new media. Cambridge, Mass.: MIT Press, 2000. xxxix, 354. ISBN 0262133741.
Teaching methods
Lectures, interpretation of texts provided in study materials in IS.
Assessment methods
Attendance 75%, active discussion.

Course completion options (one of two options):
a) Submission of an argumentative essay on 1 selected compulsory text from the Study Materials (range 4-5 SP).
b) Practical project in EA music/sonic art (min. 5 minutes) + theoretical commentary on 1 SP.
Language of instruction
Czech
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 2025.
  • Enrolment Statistics (recent)
  • Permalink: https://is.muni.cz/course/phil/spring2024/TIM_MK_002