A course examining the art of moving while standing still, and traveling far without moving. This will be approached through a study of form and variation techniques used in music. Students will be asked to make more from less while maintaining musical interest in their compositions.
Compositional techniques and styles studied include minimalism, ambient, alternative, musique concréte, popular, independent, experimental and sample based music. Assessment will consist of short composition assignments (1-2 min) rooted in class discussion and readings. These will be turned in as audio files. A single composition of 5-10 minutes will act as the final project.
By the end of this course students will be able to:
· Compose an engaging piece of music using a minimum amount of musical material.
· Critically engage with a piece of music through aural analysis.
· Analyze or break down music compositions to determine structural form and construction.
· Adapt compositional principles to their own music.
· Discover new approaches to music composition.
Course runs October 11, 2016 - February 14, 2017
Session 1: Critical Listening, Analysis and Repetition (June 7, 2016)
In this session we will learn how to critically listen to a piece of music, break it down and analyze how it was made. We will also learn why we are so attracted to repetition in music.
Session 2: Building blocks of music composition, Strategies for Architecture I - Building a form brick by brick (June 14, 2016)
This session is all about getting the most out of your musical idea. You will learn how to transform and extend that small musical phrase bouncing around in your head into a magnitude of related musical materials.
Session 3: Strategies For Architecture II (Losing Yourself in Time) (June 21, 2016)
Ever lose your sense of time while listening to a piece of music? In this session we will look at ambient music and other longer forms to discover how they play with our sense of time.
Session 4: Repetitive structures, Sources and Inspiration: Strategies for Sample-Based Works & Understanding EQ (June 28, 2016)
This session looks at music made from repetitive structures. You will also learn how to creatively adopt materials and build sample-based compositions. This is followed by a discussion of EQ to make sure you get a better mix.
Session 5: Composition Case Studies. What can you do if you get stuck? (July 5, 2016)
We will discover some important case studies of contemporary artists working with repetitive musical structures and interesting materials. You will also learn some good strategies for what to do when you get stuck and can’t finish a work.
This course will explore the distinct mindset and essential knowledge base vital to the establishment and success of any music-related entrepreneurial endeavor. It will highlight the notion that, whether they know it or not, musicians are natural entrepreneurs!
Grasp the essentials needed to begin playing acoustic or electric guitar. You'll learn an easy approach to get you playing quickly, through a combination of exploring the instrument, performance technique, and basic music theory.
The course, lecture, and examples build on each other to teach the fundamentals of programming in general (logic, loops, functions, objects, classes) and also deals with advanced topics including multi-threading, events and signals. Throughout the course, students create meaningful and rewarding expressive digital “instruments” that make sound and music in direct response to program logic. The ChucK language provides precise high-level control over time, audio computation, and user interface elements (track pad, joysticks, etc.).
In this course students learn the basic concepts of acoustics and electronics and how they can applied to understand musical sound and make music with electronic instruments. Topics include: sound waves, musical sound, basic electronics, and applications of these basic principles in amplifiers and speaker design.
This course, part 2 of a 2-course sequence, examines the history of rock, primarily as it unfolded in the United States, from the early 1970s to the early 1990s. This course covers the music of Led Zeppelin, the Allman Brothers, Carole King, Bob Marley, the Sex Pistols, Donna Summer, Michael Jackson, Madonna, Prince, Metallica, Run-DMC, and Nirvana, and many more artists, with an emphasis both on cultural context and on the music itself. We will also explore how developments in the music business and in technology helped shape the ways in which styles developed.
How can we use computers to create expressive, compelling music? And how can we write computer software to help us create and organize sounds in new ways? This course provides a hands-on introduction to the field of music technology as both a creative musical practice and an interdisciplinary technical research pursuit. Students will be able to compose music in digital audio workstation software using both audio and symbolic representations; to write code to algorithmically generate music, analyze sound, and design sound; and to describe the essential theory and history behind these activities as well as their connection to cutting-edge computer music research.
Our relationship to Beethoven is a deep and paradoxical one. For many musicians, he represents a kind of holy grail: His music has an intensity, rigor, and profundity which keep us in its thrall, and it is perhaps unequalled in the interpretive, technical, and even spiritual challenges it poses to performers. At the same time, Beethoven’s music is casually familiar to millions of people who do not attend concerts or consider themselves musically inclined. Two hundred years after his death, he is everywhere in the culture, yet still represents its summit. This course takes an inside-out look at the 32 piano sonatas from the point of view of a performer.
This free online course is a technical ear training programme designed to improve critical listening in a music studio context. There are many qualities required to be a skilled sound engineer: the theoretical knowledge of sound and audio, the technical mastery of studio hardware and software, and diplomatic people skills, for example. But perhaps the most obvious (and often overlooked) quality required of all sound engineers is the ability to listen.