The purpose of this course is to learn how to make a short motion picture starting with pre-production. As we walk through all the steps of making this movie, you will prepare yourself for entering film school.

This course supports the aesthetics of lighting as a visual art, students analyze theater, concert, and film/video scripts for lighting requirements and develop a workable design concept. Students then generate complete lighting paperwork common to the job of an assistant lighting designer. Requires use of CAD (Vectorworks) software to develop renders. Students should be able to develop sophisticated responses to a set’s architectural problems and a common stage for live performances.

This course hub website contains OER (Open Educational Resources)/ZTC (Zero Textbook Cost) resources for faculty teaching Introduction to Contemporary Media (MES 152) at the Borough of Manhattan Community College. These resources are freely available for use by BMCC faculty and beyond.

Doug Cohen's Music 1300 is a site for students of Music Appreciation, both at Brooklyn College and around the world. We feature open access web resources, and resources available to the CUNY community. We are committed to the use of Open Education Resources (OER). Click on the tabs and dropdown menus to navigate to the lower level pages.

This course explores the ways in which humans experience the realm of sound and how perceptions and technologies of sound emerge from cultural, economic, and historical worlds. It examines how environmental, linguistic, and musical sounds are construed cross-culturally. It describes the rise of telephony, architectural acoustics, sound recording, and the globalized travel of these technologies. Students address questions of ownership, property, authorship, and copyright in the age of digital file sharing. There is a particular focus on how the sound/noise boundary is imagined, created and modeled across diverse sociocultural and scientific contexts. Auditory examples will be provided. Instruction and practice in written and oral communication provided. At MIT, this course is limited to 20 students.

A survey of major works of the twentieth century, beginning with Mahler, Schoenberg, Stravinsky, Bartok, and Ives; continuing with Varese, Webern, Hindemith, Prokofiev, among other composers. A general view of the current scene. Description from course home page:This subject covers a specific branch of music history: Western concert music of first sixty years of the twentieth century. Although we will be listening to and studying many pieces (most of the highest caliber) the goal of the course is not solely to build up a repertory of works in our memory (though that is indeed a goal). We will be most concerned with larger questions of continuity and change in music. We will also consider questions of reception, or historiography - that is, the creation of history and our perception of it. Why do we perceive much of this music, so much closer in time to us than Mozart or Beethoven, to be so foreign? Is this music aloof and separate from popular music of the twentieth century or is there a real connection (perhaps hidden)? The subject will continue to follow some topics of central interest to music before 1960, such as serialism and aleatory, beyond the 1960 cutoff. Conversely a few topics which get their start just before 1960 but which flourish later (minimalism, computer music) will be covered only in 21M.263.

Begins with the premise that the 1960s mark a great dividing point in the history of twentieth-century Western musical culture, and explores the ways in which various social and artistic concerns of composers, performers, and listeners have evolved since that decade. Focuses on works by classical composers from around the world. Topics to be explored include: the impact of rock, as it developed during the 1960s-70s; the concurrent emergence of post-serial, neo-tonal, Minimalist, and New Age styles; the globalization of Western musical traditions; the impact of new technologies; and the significance of music video, video games, and other versions of (digital) multimedia. Interweaves discussion of these topics with close study of seminal musical works, evenly distributed across the four decades since 1960. Works by MIT composers included.

An introduction to the analysis of tonal music. Students develop analytical techniques based upon concepts learned in Harmony and Counterpoint I and II. Students study harmony, counterpoint, melodic line and motivic relationships at local and large scale levels of musical structure. Three 7-page papers, one revised paper, and one oral presentation required.

"This course is an investigation into the history and aesthetics of music and technology as deployed in experimental and popular musics from the 19th century to the present. Through original research, creative hands-on projects, readings, and lectures, the following topics will be explored. The history of radio, audio recording, and the recording studio, as well as the development of musique concr?te and early electronic instruments. The creation and extension of musical interfaces by composers such as Harry Partch, John Cage, Conlon Nancarrow, and others. The exploration of electromagnetic technologies in pickups, and the development of dub, hip-hop, and turntablism. The history and application of the analog synthesizer, from the Moog modular to the Roland TR-808. The history of computer music, including music synthesis and representation languages. Contemporary practices in circuit bending, live electronics, and electro-acoustic music, as well as issues in copyright and intellectual property, will also be examined. No prerequisites."

During this semester we will:
1) Trace the diaspora of folk and popular music traditions to the U.S. from various parts of the world.
2) Analyze the survival, transformation, and hybridization of those musical practices and their impact on American popular music.
3) Explore how and why American music is globalized; the role of the Internet and mass media in this process; and the ways in which local cultures around the world adapt American music to their own society and traditions.

Bringing together MA and MFA students from Brooklyn College and CUNY in PIMA, Screen Studies, Film, Art History, Queer and Feminist Studies, and related disciplines, this team-taught course engages closely with twelve AIDS activist videotapes from the first decade of the crisis to raise and respond to questions about videotape, analogue records, the archive, research, performance, and AIDS. The Spring 2020 class will sit and be built out here, in this growing Scalar "book," taking and growing the form of a student-generated, online, openly-available resource for more teaching, learning, and activism about the 12 tapes under consideration. In Spring 2019, the course was built in and using Omeka, and some of what remains is available there. An article about the first iteration of the experimental class by Professors Juhasz and McCoy is available on this site here (in Readings). In Spring 2020, students will build from the research, performance, art, and activism of the previous cohort, whose work focused on three current and past concerns raised by the selected tapes: prostitutes’ and sex workers rights and AIDS; art, voice, education, authenticity, and children in relation to AIDS and queerness; and community-based activism for and about communities of color, with a particular interest in the Brooklyn-based activist group, VOCAL, and their commitments to housing and safe consumption spaces for people affected by AIDS (see Student Projects).

In-depth study of tools and techniques for designing dynamic and interactive multimedia systems for use in live performance situations. Emphasis will be on student creation of custom computer software to realize interactive projects. Video, audio, three-dimensional computer images, and alternative computer-human interfaces will be addressed. Extensive instruction in graphical computer programming; no experience required.

In-depth study of tools and techniques for designing dynamic and interactive multimedia systems for use in live performance situations. Emphasis will be on student creation of custom computer software to realize interactive projects. Video, audio, three-dimensional computer images, and alternative computer-human interfaces will be addressed. Extensive instruction in graphical computer programming; no experience required.

Production of Educational Videos is an introduction to technical communication that is situated in the production of educational videos; the assignments are all focused on the production of videos that teach some aspect of MIT's first-year core curriculum. The objective of these assignments is improvement in both communication ability and communication habits; these improvements are effected by providing participants with instruction, practice, feedback, and the opportunity for reflection. In addition to improvements in communication skills, improvement is expected in students' attitude towards writing, oral presentations, and collaboration; as the semester progresses, students should feel confident of their ability to write, present, and collaborate.

This assignment is inspired by the learnings that arose from the workshop, “Fostering Play in the Classroom - Pedagogies to Build Creativity, Connection and Light to Oppressive Spaces”. Based on group dialogue, feedback, and the desire to build on pedagogies of play in the workshop, this science fiction short story assignment has been created as an additional layer of liberatory, contemplative learning for students that can be used/tweaked to work in a variety of courses. Powerful conversations arose in the workshop surrounding power/oppression, positionality and how this impacts our ability to engage in play, and the importance of holding both/and (i.e. - joy/sadness, pain/pleasure, restriction/liberation). This assignment attempts to deepen these reflections through creativity, storytelling, and removal of limits for dreaming in a world with obstacles. 

A survey of developments in Western musical style from 1810-1910. Thirty composers discussed including the Romantics Schubert, Berlioz, Chopin, Schumann, and Liszt; and the post-Romantics Wagner, Verdi, Brahms, Strauss, Farwell, and Mahler. Required reading, score-reading, and listening assignments.

This assignment and exercise encourages students to pick a formative story, artifact, individual, or moment in their acquisition of language and/or literacy. Students record themselves telling this story, then type that recording, and make choices about how to edit that text.Instructors may invite students to read these aloud, and/or peer edit. Students may also submit reflections and comment on each others' reflection.

Innovation in expression -- as realized in media, tangible objects, and performance, and more -- generates new questions and new potentials for human engagement. When and how does expression engage us deeply? While "deep engagement" seems fundamental to the human psyche, it is hard to define, difficult to reliably design for, and hard to critically measure or assess. Are there principles we can articulate? Are there evaluation metrics we can use to insure quality of experience? Many personal stories confirm the hypothesis that once we experience deep engagement, it is a state we long for, remember, and want to repeat. We need to better understand these principles and innovate methods that can insure higher-quality products (artifacts, experiences, environments, performances, etc.) that appeal to a broad audience and that have lasting value over the long term.