TIM_BM_013 Sound Poetry

Faculty of Arts
Spring 2024
Extent and Intensity
2/0/0. 5 credit(s). Type of Completion: z (credit).
Taught in person.
Teacher(s)
Mgr. Zuzana Panák Husárová, Ph.D. (lecturer)
Mgr. Zuzana Panák-Husárová, Ph.D. (lecturer), doc. Mgr. Jana Horáková, Ph.D. (deputy)
doc. Mgr. Jana Horáková, Ph.D. (alternate examiner)
Guaranteed by
doc. Mgr. Jana Horáková, Ph.D.
Department of Musicology – Faculty of Arts
Contact Person: Bc. Jitka Leflíková
Supplier department: Department of Musicology – Faculty of Arts
Timetable
Mon 15. 4. 10:00–15:40 N21, Tue 16. 4. 10:00–15:40 N51, Wed 17. 4. 10:00–15:40 N21
Prerequisites
To understand, communicate and write in English.
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 50 student(s).
Current registration and enrolment status: enrolled: 28/50, only registered: 0/50, only registered with preference (fields directly associated with the programme): 0/50
fields of study / plans the course is directly associated with
there are 12 fields of study the course is directly associated with, display
Course objectives
The course is focused on the sonic elements of poetry and language, on the performativity of poetry and prose and on the possibilities of sensing and creating texts that have a rhytmical or physical potential. It consists of classes, where students learn about & discuss the existing projects, plus where they bring their own texts/projects and in the form of workshops we discuss them and advise on their potential. The class is framed around various approaches to the connections between poetic/prosaic expression & sound/music: Lautgedichte, poésie sonore, phonic poetry, audio poetry, noise poetry, sound-text composition, sound poetry translation. The core of the course will be dealing with the texts (in written & spoken & recorded form), whose “material” basis lies in the movement through language sonosphere. The course has its own English website, where the students can read the texts and other material.
Learning outcomes
After the end of the course, the students will be able to: • Identify the main sound poetry approaches and techniques • Critically assess the value of various sound projects • Discuss the sound poetry trends • Create a sound poetry project
Syllabus
  • 1. Sound Poetry: Introduction (Who, When, How, Why) • 2. Early Lautgedichte /Sound poem on the paper during class • 3. Creative Use of Sound Effects / Work with sound effects, noise poem • 4. Text & Sound Manipulation /Recorded voice, excursion • 5. Tools for Sound Poetry Creation /Project prototypes • 6. Bringing & Discussing the Final Projects/ Performing
Literature
    recommended literature
  • Richard Huelsenbeck: En Avant Dada – A History of Dadaism.
  • Kenneth Goldsmith: The Women of the Avant-Garde. 2009.
  • Dick HIggins: A Taxonomy of Sound Poetry
  • Steve McCaffery: Sound Poetry — A Survey. 1978.
  • EXERCISE OF FREEDOM: The history of 20th Century Phonetic and Sound Poetry in a journey from voices of the past to the present.
  • Christine Ehrick: Vocal Gender and the Gendered Soundscape: At the Intersection of Gender Studies and Sound Studies. 2015.
  • Jas. H. Duke: Sounds, sound poetry, and sound/text compositions.
  • Bob Cobbing: Some Statements on Sound Poetry.1978.
  • Dada for now.
  • Historical Sound Poetry Scores | 1914-1919
Teaching methods
Lecture, class discussions, workshops, group projects, projects.
Assessment methods
Active participation during classes • Sound poetry projects for classes + 1 final project
Language of instruction
English
Further Comments
Study Materials
The course is taught only once.
Teacher's information
http://isoundpoetry.tumblr.com
The course is also listed under the following terms Autumn 2019, Autumn 2020, Spring 2022.
  • Enrolment Statistics (recent)
  • Permalink: https://is.muni.cz/course/phil/spring2024/TIM_BM_013