This seminar aims to channel the excitement and interest generated by the film Black Panther into a course that utilizes its themes, design elements, and costumes as a means to explore the art and culture of the African continent. This course will provide students with the tools to assess how African cultures are referenced and reimagined in the film, ultimately allowing them to assess if these allusions are informed and appropriate and how they shape our understanding of the film. The course begins by providing students with several theoretical frameworks for understanding the film and its use of African cultures, followed by an exploration of ancient and historical African empires that served as the inspiration for the mythological empire of Wakanda. The majority of the class focuses on specific characters, examining the actual culture practices and forms of dress that influenced their characterization, providing students with a more nuanced and informed understanding of African cultural practices. Students will examine a diverse range of visual art forms throughout the African continent, with an emphasis on textiles, dress and adornment. Most importantly, this course will encourage students to interrogate and question how African cultures are frequently referenced in American popular culture.
This class examines the ways humans experience the realm of sound and how perceptions and technologies of sound emerge from cultural, economic, and historical worlds. In addition to learning about how environmental, linguistic, and musical sounds are construed cross-culturally, students learn about the rise of telephony, architectural acoustics, and sound recording, as well as about the globalized travel of these technologies. Questions of ownership, property, authorship, and copyright in the age of digital file sharing are also addressed. A major concern will be with how the sound/noise boundary has been imagined, created, and modeled across diverse sociocultural and scientific contexts. Auditory examples--sound art, environmental recordings, music--will be provided and invited throughout the term.
The Documentary Production class is devoted to the development and production of short 5-10 minute documentaries.
The course promotes the idea of learning production skills through direct practice. Students in the class will be required to demonstrate an understanding of documentary research and development, camera techniques, location sound for documentary, as well as editing both picture and sound.
Students will consider important questions when developing their ideas for a documentary topic.
Documentary Production will instill in film and television students an understanding and respect for the documentary format and medium.
Documentary Production will encourage students to explore various aesthetic options when shaping a documentary topic.
Students will learn the fundamental technical skills required to thoroughly research and develop a short documentary topic.
Students will learn the fundamentals of camera, sound, and editing considerations necessary for completing a short documentary.
Students will gain an appreciation of the role documentary can play in purposeful forms of filmmaking, with an emphasis on community engagement and community outreach.
During the months ahead, you will develop a screenplay suitable for production in Film 3300W Thesis Film Production. To help accomplish this, you will be discussing various aspects of screenwriting and filmmaking, doing appropriate reading, screening films, completing exercises meant to develop your ideas and, most importantly, writing a five-to-ten page screenplay.
All assignments must be typed. Spelling and grammar count. Assignments are due at the beginning of each class.
Course Objectives and Goals
To complete a series of writing exercises
To present selected scenes from your screenplay to the class
To write a 5-10 page screenplay in proper format for production in an advanced film production class
"This class explores composition and arrangement for the large jazz ensemble from 1920s foundations to current postmodern practice. Consideration given to a variety of styles and to the interaction of improvisation and composition. Study of works by Basie, Ellington, Evans, Gillespie, Golson, Mingus, Morris, Nelson, Williams, and others. Open rehearsals, workshops, and performances of student compositions by the MIT Festival Jazz Ensemble and the Aardvark Jazz Orchestra. ĺĘ"
A series of progressive composition projects, culminating in a large final projecting, using various types of music hardware and software. Instruction in recording, editing, synthesis, sampling, digital sound processing, sequencing, and interactive systems. Close listening to computer and electronic music from various genres including Varese, Cage, Schaeffer, Xenakis, Lansky, Stockhausen, Tcherepnin, Barlow, Gunter, and Eno. Subject focuses on using the computer as a means of musical creativity and intuition.
What are the roles of analysis, description and performance in developing musical perception and understanding? How are units of perception different from units of description? Bamberger's text "Developing Musical Intuitions" and the accompanying software "Impromptu" are used as environments for composing melodies and percussion pieces. These, in turn, serve as the basis for students to interrogate their musical intuitions so as to expand and develop them. Term projects involve learning to perform a new composition or an experiment in musical perception, or designing multiple representations for appropriate analysis of a significant work. The goal of this class is practical: to interrogate, make explicit, and thus to develop the powerful musical intuitions that are at work as you make sense of the music all around you. Reflecting, we will ask how this knowledge develops in ordinary and extraordinary ways.
This set of course materials includes lecture slides, activity files, images, quizzes, tests, review questions, and project assignments for Digital Media at Georgia Gwinnett College. The course uses open-source applications such as GIMP and InkScape.
Individual chapters are available for download due to the large file sizes. Web-based assignments to supplement these materials are located on the GGC Wiki: All Digital Media Assignments
Topics covered include:
How and why do people seek to capture everyday life on film? What can we learn from such films? This course challenges distinctions commonly made between documentary and ethnographic films to consider how human cultural life is portrayed in both. It considers the interests, which motivate such filmmakers ranging from curiosity about "exotic" people to a concern with capturing "real life" to a desire for advocacy. Students will view documentaries about people both in the U.S. and abroad and will consider such issues as the relationship between film images and "reality," the tensions between art and observation, and the ethical relationship between filmmakers and those they film.
Exploring Movie Construction and Production contains eight chapters of the major areas of film construction and production. The discussion covers theme, genre, narrative structure, character portrayal, story, plot, directing style, cinematography, and editing. Important terminology is defined and types of analysis are discussed and demonstrated. An extended example of how a movie description reflects the setting, narrative structure, or directing style is used throughout the book to illustrate building blocks of each theme. This approach to film instruction and analysis has proved beneficial to increasing students’ learning, while enhancing the creativity and critical thinking of the student.
How does the editing of images and sound reveal the complexity of an experience? Through editing we will learn to manipulate time, space, sound and emotions to create a subjective experience we can share with the viewers. In this course you will work to develop skills in the craft of editing. This is a hands-on course, emphasizing non-linear editing using Premiere Pro CC. In addition to the technical aspects of editing, we will study the art and theory of the craft through screenings of a variety of works. We will explore various conventions and expressions in narrative, documentary and experimental forms. Over the course of the semester, you will begin to define your role as an editor, understand editing as a potential profession, and discover how it enriches your overall process as a storyteller.
FORUMS is a collection of open online resources supporting post-secondary instruction of music in general studies. FORUMS includes links to authentic, academic and scholarly materials; pedagogical materials. FORUMS seeks to build community among gen ed music teachers. See the FORUMS and community box below for more information. In this prototype pilot version (FORUMS v.1.1), the best way to navigate the site is to use the pull-down tabs from the above menu. FORUMS’ purposes are:
1. to provide an access point to collected, evaluated open access music sites for undergraduate students and faculty;
2. to develop community among those teaching undergraduate general education students; and
3. to support the teaching of music to adult learners, especially students in general studies college courses.
Site users include, but are not limited to: students and teachers of music in general studies classes and adult learners of music worldwide.
Contributors include, but are not limited to: music educators, music performers, musicologists, ethnomusicologists, museum and archive curators and educators, music librarians, SoTL specialists, and others with expertise related to teaching music to adult learners.
This open set of course materials for Film Aesthetics is a downloadable version of a course created for a learning management system. Included are learning modules and a quiz bank based on introductory film concepts including the following topics: Narrative Structure and Motifs, Mise-en-Scene, Cinematography, Sound Design, Music, and Visual Effects.
The goals of this class are two-fold: the first is to experience the creative processes and storytelling behind several of theater's arts and to acquire the analytical skills necessary in assessing the meaning they transmit when they come together in production. Secondly, we will introduce you to these languages in a creative way by giving you hands-on experience in each. To that end, several Visiting Artists and MIT faculty in Theater Arts will guest lecture, lead workshops, and give you practical instruction in their individual art forms.
Introduces students to the basics of musical structure and proficiencies expected of musicians through participation in three integrated hands-on approaches. Lectures introduce students to the basics of music--pitch, rhythm, and its combinations--in a variety of musical settings, including analysis and discussion of students' compositions and of related larger works. Sight-singing lab focuses on developing practical musical skills through oral, aural, and written experiences with rhythms, melodies, intervals, scales, chords, and music notation. Piano lab introduces and continues development of fundamental music skills through keyboard practice.
The topic for Fall 2006 is short film and radio plays. This course investigates current trends and topics in German literary, theater, film, television, radio, and other media arts productions. Students analyze media texts in the context of their production, reception, and distribution as well as the public debates initiated by these works. The topic for Fall 2006 is German Short Film, a popular format that represents most recent trends in film production, and German Radio Art, a striving genre that includes experimental radio plays, sound art, and audio installations. Special attention will be given to the representation of German minorities, contrasted by their own artistic expressions reflecting changes in identity and a new political voice. Students have the opportunity to discuss course topics with a writer, filmmaker, and/or media artist from Germany. The course is taught in German.
A continuation of Harmony and Counterpoint I, including chromatic harmony and modulation, a more extensive composition project, keyboard laboratory, and sight-singing laboratory.
Basic writing skills in music of the common-practice period (Bach to Brahms). Work includes regular written assignments leading to the composition of short pieces, analyzing representative works from the literature, keyboard laboratory, and sight-singing choir. It is recommended that entering students have some concert music listening or playing background. Enrollment may be limited.
This course looks at the history of avant-garde and electronic music from the early twentieth century to the present. The class is organized as a theory and production seminar for which students may either produce audio/multimedia projects or a research paper. It engages music scholarship, cultural criticism, studio production, and multi-media development, such as recent software, sound design for film and games, and sound installation. Sound as a media tool for communication and sound as a form of artistic expression are subjects under discussion. The artists' work reviewed in the course includes selections from audio innovators such as the Italian Futurists, Edgard VarĚŹse, John Cage, King Tubby, Brian Eno, Steve Reich, Afrika Bambaataa, Kraftwerk, Merzbow, Aphex Twin, Rza, BjĚŚrk, and others.
This course examines the production, transmission, preservation and qualities of folk music in the British Isles and North America from the 18th century to the folk revival of the 1960s and the present. There is a special emphasis on balladry, fiddle styles, and African-American influences. The class sings ballads and folk songs from the Child and Lomax collections as well as other sources as we examine them from literary, historical, and musical points of view. Readings supply critical and background materials from a number of sources. Visitors and films bring additional perspectives.
Through a progressive series of composition projects, students investigate the sonic organization of musical works and performances, focusing on fundamental questions of unity and variety. Aesthetic issues are considered in the pragmatic context of the instructions that composers provide to achieve a desired musical result, whether these instructions are notated in prose, as graphic images, or in symbolic notation. No formal training is required. Weekly listening, reading, and composition assignments draw on a broad range of musical styles and intellectual traditions, from various cultures and historical periods.
Gives students a broad overview of Western music from the Middle Ages to the twentieth century, with emphasis on late Baroque, Classical, Romantic, and Modernist styles. Enhances the musical experience by developing listening skills and an understanding of diverse forms and genres. Major composers and works placed in social and cultural contexts. Weekly lectures feature demonstrations by professional performers, and introduce topics to be discussed in sections.
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.
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.
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.
- Applied Science
- Environmental Science
- Environmental Studies
- Health, Medicine and Nursing
- Information Science
- Arts and Humanities
- Art History
- Graphic Arts
- Performing Arts
- Religious Studies
- Visual Arts
- World Cultures
- Business and Communication
- Public Relations
- Career and Technical Education
- Film and Music Production
- Graphic Design
- Higher Education
- English Language Arts
- Composition and Rhetoric
- Reading Foundation Skills
- Reading Literature
- Speaking and Listening
- Life Science
- Physical Science
- Social Science
- Ethnic Studies
- Political Science
- Social Work
- Material Type:
- Teaching/Learning Strategy
- Christina Katopodis
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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.
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.
Introduction to the use of sound in multimedia, including post-production
and editing, with an emphasis on integration with visual components.
Students develop techniques of organizing and manipulating sound with
industry standard software and hardware systems. Digital audio formats,
compression protocols, streaming audio,synchronization, and integration
with multimedia elements are covered. MIDI and basic sequencing are
introduced as used in internet playback systems. Importing and exporting
audio protocols between a variety of applications is covered. Students
will work in an intensive, project-oriented environment, using a variety
of applications . The final project adds sound to a visual media scene.
This course will explore the rich diversity of women's voices and experiences as reflected in writings and films by and about Latina writers, filmmakers, and artists. Through close readings, class discussions and independently researched student presentations related to each text, we will explore not only the unique, individual voice of the writer, but also the cultural, social and political contexts which inform their narratives. We will also examine the roles that gender, familial ties and social and political preoccupations play in shaping the values of the writers and the nature of the characters encountered in the texts and films.
A chronological survey of masterpieces of the symphonic literature, ranging from the mid-eighteenth to the early twenty-first century. Includes one work by each major figure. As a participatory subject, students give oral presentations concerning composers and their symphonies. Prior musical score-reading experience is helpful. Students attend two or three symphonic concerts during the term.