Touch the Sound

Display Schedule

Code Completion Credits Range Language Instruction Semester
311TTS Z 2 28S English winter

Subject guarantor


Name of lecturer(s)


Learning outcomes of the course unit

Students broaden their skills - both analytical and practical - in the scope of sound in storytelling. The students will get practical experience of the power and possibilities based on deep insight into theoretical background of the sound design.

Mode of study

lectures with theoretical and practical part

Prerequisites and co-requisites


Course contents

Class will be organized in 4 hours blocks in 7 lectures, dedicated to both - theoretical and practical part.

First lecture

Practical part: The Night

Theoretical part: How to narrate through sound?

Second lecture:

Practical part: Review of student’ s work in progress.

Theoretical part: Asynchronism as a creative device in using sound.

Third lecture:

Practical part: Presentation, commentary and evaluation of practical exercise The Night.

Theoretical part: Introduction into soundscapes, and basic exploration of open possibilities of next practical exercise Our universe.

Fourth lecture:

Practical part: Review of student’ s work in progress (exercise Our Universe).

Theoretical part: Soundscapes and atmospheres in modern cinema.

Fifth lecture:

Practical part: Presentation, commentary and evaluation of practical exercise Our Universe.

Theoretical part: Introduction to way we can use music in narration. Presentation of last practical exercise Breathe the Music.

Sixth lexture:

Practical part: Review of student’ s work in progress.

Teorethical part: Lecture on semantic function of music.

Seventh lecture:

Presentation, commentary and evaluation of practical exercise Breathe the Music.

In the practical part students will be offered with short silent movies (practical exercise of the Camera department - Anticorro ) and asked to creatively design sound track for them, using sound to enhance, or change story using sound as a creative tool of storytelling. The purpose of these short exercises is not to achieve some excellence in sound engineering, but literally touch the expressive possibilities of sound in cinema.

Recommended or required reading

Recommended reading:

David Schonnaschein - Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema , Michael Wiese Productions, 2001.

Michel Chion, Walter Murch - Audio-Vision: Sound on Screen, Columbia University Press , 1994

Monaco James – How to read a film: The Art, Technology, Language, history, and Theory of Film and Media, Oxford University Press, 1977.

Recommended films:

A Man Escaped (Robert Bresson, 1956)

Rumble Fish (Francis Ford Coppola, 1983)

Stalker (Andrei Tarkovsky, 1979)

The Conversation (Francis Ford Coppola, 1974)

Blue Velvet (David Lynch, 1986)

Berberian Sound Studio (Peter Strickland, 2012)

Repulsion (Roman Polanski, 1965)

Caché (Michael Haneke, 2005)

No Country for Old Men (Coen Brothers, 2007)

2001: A Space Odyssey (Stanley Kubrick, 1968)

Schindler's List, (Steven Spielberg, 1993)

Assessment methods and criteria

Active participation in the practical part


Active participation in guided and non-guided discussions



doc. Mgr. Jakub Kudlac

BcA. Mgr. Martin Styblo

Schedule for winter semester 2019/2020:

room 207
Room No. 2

(Lažanský palác)
once in two weeks, start Oct 8
Date Day Time Tutor Location Notes No. of paralel
Mon 18:10–21:25 Jakub KUDLÁČ Room No. 2
Lažanský palác
once in two weeks, start Oct 8 parallel1

Schedule for summer semester 2019/2020:

The schedule has not yet been prepared

The subject is a part of the following study plans