Music Developments Rapid Composer 3 V3.84
An introductory examination of music's role in Hollywood narrative film from the classic era (1930s and 1940s) to the present. MUSIC 4 Film Music (3) (GA)The course examines the role of music in narrative film, the premier art form of the twentieth and twenty-first centuries. The popularity, significance, and value of film art would not be what it is today if music had not become an integral--indeed, indispensable--part of motion pictures from the outset. Preliminary objectives will include basic musical information (the fundamental elements of music; the broad stylistic eras of western music and their associated characteristics; the culturally encoded language of tonal music and associated musical meaning) and the main techniques of narrative film. The main objectives of the course are: to identify and recognize the principles of nondiegetic music in narrative film; to identify and recognize the purpose and functions of music in narrative film; to recognize some of the historic eras/genres/trends in Hollywood film making; to identify and recognize selected films, directors and composers; to analyze and articulate the role of music in a given scene and in a given film; and to recognize underlying assumptions and values of the culture conveyed through the diegesis. These objectives will be met by addressing such questions as: What are the underlying principles of music in film? What are the functions of music/sound within a particular scene and how does it achieve those functions? What do we see of what we hear, and what do we hear of what we see--and why? What secrets does music tell? To what extent does music influence--even control-- our interpretation of a film? More broadly, to what extent do films reflect our culture, past and present--our interests, our values?
Music Developments Rapid Composer 3 v3.84
MUSIC 5 is a course on listening, with emphasis on the relationship between musical style and historical context. Students will learn the basic skills of informed music-listening: how to hear and describe melody (phrase structure; motive; developmental strategies), harmony (the basic principles of the tonal system), rhythm (meter, tempo, and their application), timbre (including a full knowledge of the instrumental families [strings, winds, brass, percussion] and voice types), and texture (monophony, homophony, polyphony). Students will also become familiar with the eras of western musical history, and to consider relationships between musical style and non-musical developments (e.g. the intellectual environment of the Enlightenment and the Classical style in music). The course begins with an introduction to the elements of music. The goal of this section is to give all students, whether or not they have previous experience as performers, the basic skills necessary to approach any musical work as informed listeners. This activity takes four weeks. The remaining portion of the course is spent surveying the history of western music, with that history treated as a series of case studies: particular works are considered stylistically but also with regard to the historical circumstances of their production and consumption. From this activity students gain experience considering artworks in discipline-specific terms, even as they learn to relate particular artistic features to non-musical factors of culture and society. Two methods of evaluation are used. Examinations (the number determined by the instructor) test the students' mastery of the course material. Concert reports (again in a number determined by the instructor) give students the opportunity to apply that knowledge to the act of listening in an authentic performance setting. Ample time is provided in lectures for questions and discussion of the course material and of repertoire and issues suggested by the students.
This course introduces students to the study of world music as a cultural phenomenon through an examination of the music of Asia, Africa, West Asia, the Americas, and European folk. The course begins with an introduction to methods of examining world music and reframes the study of music as a cultural phenomenon, comprised not only of the music itself but also behavior and conception. This approach helps students move beyond their preconceived understanding of music in order to open their ears and minds to a wide variety of music and cultural concepts, forming the basis for the case studies that follow. The remainder of the course focuses on cultural conceptions of music, examined through the lens of a selection of case studies, including, but not limited to, the music of the Celtic nations, the African continent, Central and West Asia, India, Indonesia, Japan, and the Native American culture groups. The music of these cultures is explored both as a product and reflection of culture and as an aesthetic art form. Through this approach, students not only develop a basic fluency in the characteristics of selected world musics but also gain a broader understanding of the general classifications and geographical divisions of world music and the ways in which music relates to and is a part of all world cultures. Assigned analyses and a final project provide students with the opportunity to explore particular types of world music not covered in the lessons in greater depth, examining both the music itself and the social context in which it is found. These analyses require students to think actively about contemporary musical developments around the world, including how they are affected by current socio-political events and cultural trends. World musics are best understood when students engage in the music and in discussions of the music and culture; thus there is also a class participation/discussion component for the purposes of evaluation. The course utilizes an interactive, multimedia online curriculum, including video-recorded performances, audio examples, and music notation files. The text and all musical examples are available to students online. The course is available for GA credit and also meets the definition of an International Cultures course. It does not satisfy any requirements for the major or minor in music.
This course examines selected works from twenty of the greatest composers of western art music, with emphasis on the baroque, classical and romantic eras. The curriculum combines aspects of two existing courses, Rudiments of Music (MUSIC 8) and Introduction to Western Music (MUSIC 5). Preliminary objectives will include basic musical information associated with tonality (the fundamental elements of music; the broad stylistic eras of western music and their associated characteristics). The main objectives of the course are: to explore techniques of tonal composition in detail, with an emphasis on conceptual understanding; to hear and recognize musical sounds and compositional devices within such comparative contexts as scales v. modes, diatonic v. chromatic, consonance v. dissonance, polyphony v. homophony; to hear and recognize fundamental harmonic relationships between tonic and dominant, as well as their importance in the formal design of tonal music; to enhance appreciation for classical music and to encourage attendance of live performances. While students will necessarily acquire knowledge of fundamental elements of music, they will not be required to learn to read or write notated music to the same extent that is required of students in MUSIC 8. And while students will necessarily acquire knowledge of western music history, they will not study as many composers nor as many pieces as is customary in MUSIC 5. Instead, students will be drawn closer to a smaller number of works, and closer to the performances and the performers. Specific compositional devices (e.g., suspension, sequence, textures, rhythms, harmonies) will be highlighted in detail. These objectives will be met by utilizing an interactive, multimedia online curriculum, including demonstration videos by the author, a virtual keyboard and music notation files (e.g., Sibelius). An essential component of the online curriculum will be the inclusion of selected video-recorded performances, along with commentary from the performers. Twelve members of our performance faculty have been video-recorded in studio performance, allowing students a close-up view of a substantial portion of the repertoire to be examined. The course will be available for GA credit. It will not satisfy any requirements for the major or minor in music. All musical pieces and excerpts will be made available to students online.
This course examines selected works from twenty of the greatest composers of western art music, with emphasis on the baroque, classical and romantic eras. The curriculum combines aspects of two existing courses, Rudiments of Music (MUSIC 8) and Introduction to Western Music (MUSIC 5), and includes curricular links to INART 50Z. Preliminary objectives will include basic musical information associated with tonality (the fundamental elements of music; the broad stylistic eras of western music and their associated characteristics). The main objectives of the course are: to explore techniques of tonal composition in detail, with an emphasis on conceptual understanding; to hear and recognize musical sounds and compositional devices within such comparative contexts as scales v. modes, diatonic v. chromatic, consonance v. dissonance, polyphony v. homophony; to hear and recognize fundamental harmonic relationships between tonic and dominant, as well as their importance in the formal design of tonal music; to enhance appreciation for classical music and to encourage attendance of live performances. Students will acquire knowledge of fundamental elements of music but not be required to learn to read or write notated music as fully as are students in MUSIC 8. Students will acquire knowledge of western music history, but they will not study as many composers nor as many pieces as is customary in MUSIC 5. Instead, students will be drawn closer to a smaller number of works, and closer to the performances and the performers. Specific compositional devices (e.g., suspension, sequence, textures, rhythms, harmonies) will be highlighted in detail. Curricular links to INART 50Z will introduce students to the arithmetic relationships between pitches, intervals, and the underlying natural phenomena upon which they are based. These objectives will be met by utilizing an interactive, multimedia online curriculum, including demonstration videos by the author, a virtual keyboard and music notation files (e.g., Sibelius). An essential component of the online curriculum will be the inclusion of selected video-recorded performances, along with commentary from the performers. Members of our performance faculty have been video-recorded in studio performance, allowing students a closeup view of a substantial portion of the repertoire to be examined. The course will be available for GA credit. It will not satisfy any requirements for the major or minor in music. All musical pieces and excerpts will be made available to students online. MUSIC 11Z and INART 50Z are linked courses. 041b061a72