This was the class that I was looking forward to taking during my final term with Berklee Online. The idea of being able to work on one piece for an entire term, to focus on and consider a piece of music for an extended period of time was really exciting to me. It did not disappoint.
This course was a great way for us to put together everything we learned throughout the degree program into one project. It required that I utilize topics covered in Music Theory 1-4, Film Scoring 101, Counterpoint, Music Notation & Score Preparation, Orchestration 1 & 2, Music Composition for Film 1 & 2, and Mixing & Mastering on a regular basis. It was the perfect way to finish up the “Music Composition for Film, TV, and Games Degree” program.
One of the biggest takeaways for me from this capstone project was to break music cues out into smaller, stand-alone, Logic project files. I fell into a trap trying to work with one large file so that I could get a sense of how one section was flowing into another, contextually. Unfortunately, it just made for much bigger problems later in the project as I started hitting technical issues with my DAW (clicks/pops, memory overflows) even with frozen tracks and large buffer sizes, which brought all forward progress to a halt. If I were to do it all over again breaking everything into seperate projects would be the first thing I would do (after spotting and mapping everything out).
Another important takeaway for me with this project was having a musical sketch of the entire piece from beginning to end. It really helped to have a “roadmap” to pull everything together and work from. This helped maintain forward momentum and alleviate writer’s block.
Super happy to have been able to study with Ben Newhouse again as he’s one of my favorite teachers ever, not just with Berklee. His approach to the material was always clear, methodical, and well thought out. He always gave really helpful, useful, and timely feedback on all assignments and communications, and was very inspiring as an instructor and person.
Here’s the capstone piece that I put together. It’s a rescoring of the excellent BMW Films “The Hire – Ambush”.
Week 1 – “Overall Industry Profitability” – Jan 9th – Jan 13th Introduction, Meet and Greet, Course Overview, Need for a Macro Industry Analysis, Porter’s Five Forces—Plus One, Bargaining Power of Suppliers, Bargaining Power of Buyers, Nature of Competition, Influx of New Entrants, Availability of Substitutes, Government Policy, Workshop: Business Terminology, Summary of Strategic Recommendations, Discussion 1.1: Trends and Changes in the Industry, Degree Review Quiz: Music Notation, Assignment 1: Introduce Your Capstone Project, Recap
Week 2 – “Client Needs and Your Solutions” – Jan 14th – Jan 20th Introduction, Clients, Creativity, and Being a “Hired Pencil”, Discussion 2.1: Horner Follow-up, Musical Expertise, Budget, Customization, Risk, Quantity, Time, Aesthetics: “Different” or “Similar” Music, Client Need Profiles, Possible Solutions for Common Client Needs, Discussion 2.2: Three Different Clients, Degree Review Quiz: Music Technology, Assignment 2: Capstone Project Update, Recap
Week 3 – “Finding Clients” – Jan 21st – Jan 27th Introduction, Conference Networking Strategies, Film Festivals, Film Societies, Organizations, and Conferences, TV Industry Conferences, Video Game Conferences, Databases and Cold-Calling, Film Schools, US Film Schools, International Film Schools, Industry Publications, Discussion 3.1: Elevator Conversation, Degree Review Quiz: Music Theory I, Assignment 3: Capstone Project Update, Recap
Week 4 – “Composer Marketing Materials” – Jan 28th – Feb 3rd Introduction, Demos, Audio Demos, Video Demos, Demos: A Possible Approach, Cover Letters, Networking Letters, Credit List, Resumé, Business Cards, Website, Discussion 4.1: Website Content, Course Reading Quiz: Lessons 1-4, Assignment 4: Capstone Project Update, Recap
Week 5 – “Copyrights” – Feb 4th – Feb 10th Introduction, Copyrights, Compositions and Recordings, Musical Composition and Sound Recording Copyrights, Music Licensing, Performing Rights Organizations, International PROs, The Term “Publishing”, Work Made for Hire, Contract Considerations, Evaluating Contracts, Workshop: Copyright Terminology, Discussion 5.1: Your PRO, Degree Review Quiz: World Music, Assignment 5: Capstone Project Update, Recap
Week 6 – “Royalties” – Feb 11th – Feb 17th Introduction, Will I Get Royalties?, Evaluating Royalty Opportunities: Television, Film, Workshop: Royalty Opportunities, Video Games and Music Libraries, Royalty Valuation: Inflation, Royalty Valuation: Present Value and Discount Rates, Royalty Valuation: Net Present Value, Workshop: Net Present Value, Royalty Stream Example 1, Royalty Stream Example 2, Discussion 6.1: Royalties or Upfront, Degree Review Quiz: Music History, Assignment 6: Capstone Project Update, Recap
Week 7 – “Make It Once, Sell It Many Times” – Feb 18th – Feb 24th Introduction, Multiple Payments from Multiple Clients, An Independent Film: Example 1, An Independent Film: Example 2, A Television Episode: Example 1, A Television Episode: Example 2, A Television Episode: Example 3, A Music Library Cue: Example 1, A Music Library Cue: Example 2, Key Observations, Discussion 7.1: Selling a Single Product to Multiple Buyers, Degree Review Quiz: Film Scoring, Assignment 7: Capstone Project Update, Recap
Week 8 – “Pricing” – Feb 25th – Mar 3rd Introduction, Industry Rates, Cost-Plus Pricing, Competition-Based Pricing, Ability-to-Pay Pricing, Price Discrimination, Price Takers and Price Makers, Pricing Strategies for Composers, Workshop: Pricing Terminology, Discussion 8.1: Ability-to-Pay Pricing, Course Reading Quiz: Lessons 5-8, Assignment 8: Capstone Project Update, Recap
Week 9 – “Intermediaries” – Mar 4th – Mar 10th Introduction, Agents, Hollywood Agents, Music Libraries, Submission Services, Break Even, Agent Break Even, Music Library Break Even, Submission Services and Probability, Workshop: Break Evens and Submission Fees, Try Multiple Approaches, Discussion 9.1: Submission Services, Degree Review Quiz: Video Game Music, Assignment 9: Capstone Project Update, Recap
Week 10 – “Other Jobs” – Mar 11th – Mar 17th Introduction, Music Supervisors, Music Editors, Orchestrators, Music Preparation, Composer Assistants, Production Assistant Jobs, Discussion 10.1: Composer’s Previous Jobs, Degree Review Quiz: Orchestration, Assignment 10: Capstone Project Update, Recap
Week 11 – “Temp Scores” – Mar 18th – Mar 24th Introduction, What is a Temp Score?, Benefits of Temp Scores, Weaknesses of Temp Scores, Creating Soundalikes, Composer Opinion of Temp Scores, Discussion 11.1: Temp Scores, Decreasing the Need for Temp Scores, More on Temp Score Weaknesses, Degree Review Quiz: Music Theory II, Assignment 11: Capstone Project Update, Recap
Week 12 – “Communicating with Clients” – Mar 25th – Mar 31st Introduction, An Alternative to Theoretical Musical Terminology, Creative Flexibility, The Benefits of Incorporating Feedback, Confidence and Expertise, Do Not Say Bad Things About Your Music, Discussion 12.1: Communicating with Clients, Course Reading Quiz: Lessons 9-12, Assignment 12: Capstone Project Final Submission, Recap
This class was very well put together, covering a lot of ground in going over the history of Rock music and its associated sub-genres. Filled with video interviews of artists, producers, engineers, and promoters, as well as a number of original articles the course author, Steve Morse, had written for various publications, the course is overflowing with the history of Rock.
When I signed up for this class I thought that it would be pretty easy to get through as I had done so much personal research on the subject over the years. Turned out that I ended up spending way more time on researching the assignments for class than I thought I would, just to make sure that I had my facts and references straight. That being said I couldn’t see myself doing very well with a history class on classical music so I’m glad that this course was available. All in all, it was a good class, just a bit too much information for 12 weeks.
Here’s what was covered in the course.
Week 1 – “Dawn of Rock & Roll” – Jan 9th – Jan 13th Introduction, Meet and Greet, Historical Perspective, Digging Into the Roots, Influence of Country-Hillbilly Music, Influence of Acoustic Blues, The Blues Gets Amplified, Rock’s Commercial Beginnings: From Bill Haley to Elvis and Sun Records in Memphis, Elvis, Business Spotlight: Colonel Tom Parker, Discussion 1.1: Analyzing the King, Early Rock & Roll Hitmakers, Technology Spotlight: Leo Fender, Les Paul, Business Spotlight: New Trends, Emergence of Black Stars: Chuck Berry, Little Richard, Bo Diddley, Fats Domino, Emergence of Female Stars: Wanda Jackson, Brenda Lee, Sister Rosetta Tharpe, Ruth Brown, LaVern Baker, Discussion 1.2: Birth of Rock Music Map, Inside the Music: The Beats, In Their Own Words, Quiz 1.1: Birth of Rock, Assignment 1: Rock’s Roots, Recap
Week 2 – “Rock’s Racial Integration, a Backlash; Payola; and Moving Beyond the Day the Music Died” – Jan 14th – Jan 20th Introduction, Historical Perspective, Buddy Holly’s Pioneering Role and Tragic End, Business Spotlight: Buddy Holly and Decca, Rock in Retreat, Alan Freed Helps to Racially Integrate Radio Stations and Concert Tours, then Implodes, Early Rock & Roll DJs: The Pied Pipers of Rock, New Trends, Dance Crazes, Teen Idols Signify Safe Music and a Retreat from Rock’s Roots, Discussion 2.1: Teen Idol’s Re-Recordings, The Rise of The Brill Building Movement and Spector’s Wall of Sound, Surge of Girl Groups and Female Stars, Technology Spotlight: Shifting Music Formats, The Four Seasons Bridge Doo-Wop and Rock, In Their Own Words, The Isley Brothers Provide a Bright Spot and a Link to the Beatles, Workshop: You Know My Name, Assignment 2: 1959-1963: Rock’s Dark Age?, Recap
Week 3 – “Rock Regains its Lustre, Climaxing with the British Invasion of the Beatles and Rolling Stones” – Jan 21st – Jan 27th Introduction, Historical Perspective, Roy Orbison, Ray Charles, Instrumental Rock, The Surf Rock of the Beach Boys, Business Spotlight: Rock Matures, Beatlemania, Fab Four Inventiveness, Beatles Firsts, The British Invasion, Discussion 3.1: The Beatles’ Popularity, The Rolling Stones Add a Sense of Rebellion, Sparked by Chicago Blues, Stones on a Roll, Business Spotlight: Brian Epstein of the Beatles Vs. Andrew Loog Oldham of the Stones, The Who Slam Into View, Technology Spotlight: Marshall Amplifiers, The Kinks Create a Different World, Quiz 3.1: Rock’s Golden Age, In Their Own Words, Assignment 3: The British Invasion, Recap
Week 4 – “Soul Music, Funk, Bob Dylan and Folk-Rock, and the Birth of Protest Music” – Jan 28th – Feb 3rd Introduction, Historical Perspective, Motown Records, Behind The Hits, Business Spotlight: Hitsville USA, Marvin Gaye, Stevie Wonder, Smokey Robinson & the Miracles, the Temptations, Stax-Volt Records, Otis Redding, Sam & Dave, Wilson Pickett, Soul Sisters: Tina Turner and Aretha Franklin, Funk-Rock Pioneers: James Brown and Sly & The Family Stone, Sly & The Family Stone, Protest Music, Bob Dylan’s Inspiration for Folk-Rock, Like a Rolling Stone, Business Spotlight: Albert Grossman, Personal Manager, In Their Own Words, Discussion 4.1: Folk Music’s Influence, Technology Spotlight: Recording Innovations, Donovan: the So-Called “Scottish Dylan”, Simon & Garfunkel: Bringing Folk-Rock to the Mainstream, Workshop: Terms Review, The Lovin’ Spoonful’s Good Time Music, Frank Zappa: The Ultimate Iconoclast, Assignment 4: Rock’s New Voice, Recap
Week 5 – “More British Invasion, Guitar Heroes, British Folk-Rock, and the Rawness of Garage Rock” – Feb 4th – Feb 10th Introduction, Historical Perspective, More British Invasion Bands of the ’60s: Dave Clark Five, Animals, The Hollies, Them, Hendrix in a Class by Himself, Discussion 5.1: The Jimi Hendrix Experience, Yardbirds and their Alumni: Eric Clapton, Jeff Beck, and Jimmy Page, The Jeff Beck Group, Jimmy Page and Led Zeppelin, Fleetwood Mac, Alvin Lee and Ten Years After, Technology Spotlight: New Frontiers in Electronics, Garage Rock’s Cult Status, Spotlight Moment: Rock Critic Gets Carried Away, In Their Own Words, Business Spotlight: Muscle Shoals Studio, Birth of British Folk-Rock, Quiz 5.1: Guitar Gods, British-Folk, and Other Acts of the Middle to Late 1960’s, Assignment 5: Second British Wave, Recap
Week 6– “Progressive Rock; the Birth of Psychedelia; and Acid Rock in San Francisco, L.A., and London” – Feb 11th – Feb 17th Introduction, Historical Perspective, Progressive Rock Soars in England: Cream, Traffic, and More, Traffic, Jethro Tull and King Crimson, Emerson, Lake, & Palmer and Yes, Technology Spotlight: Robert Moog and the Synthesizer, What is Psychedelic Rock?, Pink Floyd Launches Psychedelic Rock, Life in the Studio: The Moody Blues, The Beatles Raise the Bar, The San Francisco Scene, The Grateful Dead, Janis Joplin’s Cosmic Blues, Jefferson Airplane Take Off, Santana’s Latin Rock, Country Joe and the Fish, Business Spotlight: Concert Promotion Impresarios Graham and Law, Los Angeles Weighs In, The Byrds, The Doors, Love, Buffalo Springfield, Mamas & the Papas, Afro-Psychedelia: The Chambers Brothers, Black Voice of Conscience: Curtis Mayfield, Discussion 6.1: Psychedelic Sounds: West Coast and Across the Atlantic, Festival Peaks at Monterey Pop and Woodstock, Business Spotlight: Trends, Workshop: Terms Review, In Their Own Words, Assignment 6: Still Rock & Roll?, Recap
Week 7 – “Turning the Corner to the ’70s” – Feb 18th – Feb 24th Introduction, Historical Perspective, A Tough Start, Rock Festivals Imperiled, Excesses on the Road, The 27 Club, Straddling the Extremes: Crosby, Stills, Nash, & Young, Heavy Metal and Hard Rock Accelerate, Black Sabbath, Led Zeppelin, Glam Rock Asserts Itself, David Bowie, Alice Cooper, T. Rex, Garry Glitter, Elton John, Glam-Funk Psychedelia: George Clinton, Rock Opera in Vogue, Discussion 7.1: Rock Opera, Business Spotlight: Trends and More Lester Bangs, Technology Spotlight: Laser Lights and Inflatables, Soft Rock as a Rejection of the High Decibels, Carole King, Jackson Browne, Carly Simon, James Taylor, In Their Own Words, Canadians Leave their Mark on the Soft Rock Genre, Joni Mitchell, Leonard Cohen, Neil Young, Business Spotlight: David Geffen, Record Executive, Britain’s Contribution, Cat Stevens, Rod Stewart, Nick Drake, The Beatles Go Solo: Paul McCartney, John Lennon, Ringo Starr, George Harrison, Quiz 7.1: Ushering the 1970’s, Assignment 7: Rock’s Extremes, Recap
Week 8 – “Americana, Reggae, Blues Power in the Arenas, and New Superstars” – Feb 25th – Mar 3rd Introduction, Historical Perspective, Americana, The Band, Creedence Clearwater Revival, Gram Parsons, Linda Ronstadt, The Eagles, Business Spotlight: Chris Blackwell, Reggae Pioneers, Bob Marley, Peter Tosh, Jimmy Cliff, Discussion 8.1: Reggae, Blues Rock Returns and Southern Rock Peaks, Allman Brothers, Lynyrd Skynyrd, ZZ Top, J. Geils Band, Steely Dan Builds a Cult, In Their Own Words, Technology Spotlight: Heil Talk Box, Screaming Your Way: Aerosmith, Kiss, Ted Nugent, Kiss, Ted Nugent, New Superstars: Springsteen, Seger, Fleetwood Mac, Bob Seger, Fleetwood Mac, Mainstream Rock, Boston, Foreigner, Heart, Bad Company, Meat Loaf, Rush: Doing it their Way, Business Spotlight: Trends, Jimmy Buffett Hits the Beach, Workshop: You Know My Name, Assignment 8: Rock Regionalism, Recap
Week 9 – “The Extreme Rebellion of Punk” – Mar 4th – Mar 10th Introduction, Historical Perspective, Setting the Scene, The Velvet Underground, MC5, The Stooges, CBGB’s Provides a Home, The Ramones, The Patti Smith Group, Television, Richard Hell & the Voidoids, Talking Heads, Blondie, Suicide, The Cramps, Business Spotlight: Seymour Stein of Sire Records, Discussion 9.1: Rockin’ At CBGB’s, Fanzines, In Their Own Words, Technology Spotlight: Drum Machines, The Sex Pistols Pace British Punk Explosion, The Clash Pick Up the Banner, Rock Against Racism, Quiz 9.1: Fill in the Blank Generation, Other Punks of Note, The Jam, The Buzzcocks, Devo, X, Assignment 9: Three Chords and the Truth?, Recap
Week 10 – “Lennon Shock, New Wave, MTV Superstars, The ’80s Soar Despite Censorship” – Mar 11th – Mar 17th Introduction, Historical Perspective, The John Lennon Tragedy, From Punk to New Wave: U2 and The Police, The Police, U2, Business Spotlight: Super-Producer Brian Eno, Discussion 10.1: Your Thoughts on U2?, Other Prominent New Wave Acts, Elvis Costello, Cheap Trick, The Cars, The Pretenders, The B-52’s, The Go-Go’s, Squeeze, MTV Changes Everything, MTV Stars: Michael Jackson, Madonna, Prince, and More, Michael Jackson, Madonna, Prince, Billy Idol, Peter Gabriel, ZZ Top, Synth Pop and the New Brit Invasion, Eurythmics, Duran Duran, Culture Club, In Their Own Words, Business Spotlight: Trends, Technology Spotlight: Dawn of the Digital Age, Brits on the Edge, The Cure, Joy Division, Gang of Four, Hard Rock Grows a Sense of Humor, Van Halen, AC/DC, Business Spotlight: Super-Producer Mutt Lange, Rock Censorship Turns Nasty, Discussion 10.2: Rock Censorship, Workshop: You Know My Name, The Mainstream Prospers, Tom Petty & the Heartbreakers, Huey Lewis & the News, Bryan Adams, Assignment 10: Rock Videos, Recap
Week 11 – “Rock’s Social Conscience, Street Poets, Surging Female Stars, Rap Crossover, and Thrash Metal” – Mar 18th – Mar 24th Introduction, Historical Perspective, Benefit Concerts in Vogue, Live Aid: July 13, 1985 at JFK Stadium in Philadelphia, Farm Aid: Sept. 22, 1985 in Champaign, Illinois, Conspiracy of Hope: June 15, 1986 in New Jersey, Human Rights Now!, Discussion 11.1: Benefit Concerts, Rock’s New Street Poets, Billy Joel, Warren Zevon, John Mellencamp, Tom Waits, Revivals: Blues and Rockabilly, Stevie Ray Vaughan, George Thorogood & the Destroyers, Stray Cats, Musical Spotlight: Give the Bass Player Some!, Sisters Doin’ It For Themselves, Donna Summer, Tracy Chapman, Tina Turner, In Their Own Words, Business Spotlight: Ampitheaters and Another Format Becomes History, Technology Spotlight: Scholz Research & Development, Rock/Rap Crossover, Run-D.M.C., Beastie Boys, Arena Rock Surges, and Hard Rock/Heavy Metal Returns, Hair Metal Brings the Ooze, Mötley Crüe, Bon Jovi, New King of the Hill, Thrash Metal Slams In, Metallica, Slayer, ’80s Surprises, Quiz 11.1: The Late 1980s, Decade’s Positive Climax: Bonnie Raitt, Assignment 11: New Attitudes, Recap
Week 12 – “More from the ’90s, then the Effect Of 9/11 and Rocking into the 21st Century” – Mar 25th – Mar 31st Introduction, Historical Perspective, Alt-Rock Comes on Strong, R.E.M., Pixies, Welcome to Grunge, Nirvana, Pearl Jam, Soundgarden, Alice In Chains, Grunge by Association: Smashing Pumpkins, Pushing the Boundaries: Red Hot Chili Peppers, Nine Inch Nails, Flaming Lips, Red Hot Chili Peppers, Nine Inch Nails, Flaming Lips, Business Spotlight: SoundScan Changes the Industry, Dramatic New Voices, Sinead O’Connor, Alanis Morissette, Melissa Etheridge, Amanda Palmer and the Dresden Dolls, Nu Metal and Rap-Metal, Rage Against the Machine, Korn, Limp Bizkit, Linkin Park, Punk-Pop Redux: Green Day, Technology Spotlight: Pro Tools, Watershed Moments at Woodstock ’94 And ’99, Woodstock ’94: Rain, Mud, the Launch Of Green Day, the Coronation of Metallica, and the Feistiness of Aerosmith, Woodstock ’99: An Anger-Filled Festival Erupts with Rap-Metal Bands and a Destructive Finale, More Noteworthy Festivals, Brit Revival with Oasis, Radiohead, and Coldplay, Oasis, Radiohead, Coldplay, Business Spotlight: Napster Jolts the Industry, Discussion 12.1: Alternative Rock, In Their Own Words, Sonic Pastiche: Beck, Garage-Rock & Blues Revival: The White Stripes, Jam Bands Capture Fresh Attention, Phish, Dave Matthews Band, The Black Crowes, Technology Spotlight: A Classic Band on Stage, ’90s/’00s Surprises, Workshop: You Know My Name, Disastrous Effect of 9/11 On Changing Radio Playlists, Rock Goes Country, Rolling Stones Keep Rolling, Long Live Rock: Into the Future, Assignment 12: New Horizons, Recap, Postscript: Sources and Texts
One of the highlights of the Fall 2022 Term was a collaboration that I did with fellow Berklee Online students Adriene Mixon and Parker Sanders as part of the Project Management For Musicians course we were in.
The song features Adriene’s beautiful lyrics, Parker’s well-crafted guitar solo, and me handling the rest. I really like how this one turned out.
Thank you, Adriene and Parker, for working on this with me!
This was a tough term, largely due to the extra workload of applying to different Grad Schools while taking four classes with Berklee. It was very challenging and not a whole lot of fun. That being said the instructors were really good and did a great job.
This was a well-done class with a very thoughtful, and super helpful, instructor. I just wish that I enjoyed it more. Even though I did well in terms of my grades, it was a struggle for me to truly understand many of the concepts that we covered. It was a slog. I got through it and was exposed to some fantastic writers but this wasn’t an easy class (for me).
Here’s what we went over during the twelve weeks.
Week 1 – “Prose vs. Poetry”, Sep 26th – Oct 2nd Introduction, Meet and Greet, Prose: Phrase Lengths, Exercise 1.1: Creating an Effect with Sentence Lengths, Sentence Constructions: Simple Sentences, Compound Sentences, Complex Sentences, Quiz 1.1: Sentence Types, Exercise 1.2: Mixing Sentence Constructions, Sentence Types, Exercise 1.3: Sentence Types, Poetry, Exercise: End-Stops, Phrases, Exercise: End-Stops and Enjambments, Lines with Multiple Phrases, Exercise: Musical Notations, Units of Composition, Prosody, Discussion 1.1: Prosody, Assignment 1: Prose, Recap
Week 2 – “Managing End-Stops”, Oct 1st – Oct 7th Introduction, Creating Subordinate Clauses, Stable and Unstable Groupings, “Days”, Exercise: End-Stops, Instability, Exercise: Student Poetry, Student Poetry Examples, Exercise: End-Stops Revisited, More Student Examples, Exercise: More on End-Stops, Switching Line Order, Discussion 2.1: Achieving Prosody, Assignment 2: End-Stops and Subordinate Clauses, Recap
Week 3 – “Managing Caesuras”, Oct 8th – Oct 14th Introduction, Caesuras, Frontal, Medial, and Terminal Caesuras, Creating Tension, Caesura Examples, Emerson’s Handling of Caesuras, Creating Motion, Exercise: Marking Caesuras and End-Stops, Exercise: More Marking Caesuras and End-Stops, Exercise: Caesuras and End-Stops, Discussion 3.1: Managing Caesuras, Assignment 3: End-Stops and Caesuras, Recap
Week 4 – “Managing Enjambment”, Oct 15th – Oct 21st Introduction, Enjambment, Exercise: Enjambment, Moving from Light to Heavy, Other Movement, Exercise: More on Enjambment, Discussion 4.1: Managing Enjambment, Assignment 4: Enjambment, Recap
Week 5 – “Writing in Iambic Pentameter”, Oct 22nd – Oct 28th Introduction, Stressed and Unstressed Syllables, Workshop: Stressed and Unstressed Syllables, Iambic Pentameter, Blending Languages, Why Pentameter?, English Poetry, Exercise: “Days”, Exercise: Emerson, Groove and Variation, Exercise: “Distractions”, Exercise: “The Woman with Fire Engine Nails”, Discussion 5.1: Learning Your Craft, Assignment 5: Iambic Pentameter, Recap
Week 6 – “Substituting in Iambic Pentameter”, Oct 29th – Nov 4th Introduction, Substituting in Iambic Pentameter, Exercise: Substitutions, Themes and Variations, Creating Emotion, “After Long Silence”, Substitutions in “After Long Silence”, Discussion 6.1: Going Against Expectations, Assignment 6: Substituting in Iambic Pentameter, Recap
Week 7 – “Writing in Blank Verse”, Nov 5th – Nov 11th Introduction, Writing in Blank Verse, Exercise: “Birches”, “Ulysses”, Exercise: “Ulysses”, Compositional Tools, Exercise: “Spring”, Exercise: “Christmas Cheer”, Discussion 7.1: Blank Verse, Assignment 7: Blank Verse, Recap
Week 9 – “Using Rhyme”, Nov 19th – Nov 25th Introduction, Using Rhyme, Sound in Poetry, Rhyme Schemes, Exercise: Rhyme Schemes, Perfect Rhyme, Exercise 9.1: Perfect Rhyme, Consonance Rhyme, Exercise 9.2: Consonance Rhyme, More on Consonance Rhyme, Exercise: Rhyme Schemes Revisited, Exercise: “Ode to the West Wind”, Discussion 9.1: Using Rhyme, Assignment 9: Using Rhyme, Recap
Week 10 – “English (or Shakespearean) Sonnet”, Nov 26th – Dec 2nd Introduction, English or Shakespearean Sonnet, Sequence, Sonnet 29, Sonnet 73, “When I Have Fears”, Discussion 10.1: English Sonnet, Assignment 10: English Sonnet, Recap
Week 11 – “English Sonnet Continued”, Dec 3rd – Dec 9th Introduction, Modern Sonnets, “Putting in the Seed”, “Baby Running Barefoot”, Discussion 11.1: Modern Sonnets, Assignment 11: English Sonnets, Recap
Week 12 – “Italian (or Pertrarchian) Sonnet”, Dec 10th – Dec 16th Introduction, The Italian (or Petrarchian) Sonnet, The First Eight Lines, “In Memoriam”, The Italian Sonnet Road Map, Keats, “Mezzo Cammin”, “Grief”, “Design”, The ccdeed sestet, e. e. cummings, e. e. cummings Variation, Discussion 12.1: Italian Sonnet, Discussion 12.2: The Arts, Assignment 12: Italian Sonnet, Recap
This was another class that I wished I enjoyed more. The course author (and instructor) was very detailed and quite thorough, offering many fantastic examples and insights throughout the term. Yet the course just had too much information covered in too little time. In addition to the course materials, required reading, discussions, and assignments, there were many rather technical exercises due each week. Also, on two occasions there were two assignments due in one week, in addition to all the other work previously mentioned. It felt unecessarily stressful and short-sighted. (I left my feedback about all this in the course survey.)
Perhaps the most useful thing I can say that I gained from this class is that it helped me to know that I have no burning desire to score video games.
Here’s what we covered in the twelve weeks:
Week 1 – “Video Games: The Industry”, Sep 26th – Oct 2nd Their Uniqueness, and Musical Considerations, Introduction, Meet and Greet, The Video Games Industry, Types of Video Game Companies, Games Platforms, Quiz 1.1: The Video Games Industry, The Uniqueness of Video Games: Length and Repeatability, The Uniqueness of Video Games: Level of Engagement, The Uniqueness of Video Games: Variability and Game Mechanics, Quiz 1.2: The Uniqueness of Video Games Compared with Linear Media, The Structure of a Video Game, Workshop: The Structure of a Video Game, Game Music Aesthetics, Quiz 1.3: Game Music Aesthetics, Melodic and Thematic Development in Video Games, 14 Video Game Themes You Should Know, Discussion 1.1: Game of the Week—Chime, Assignment 1: Compose Themes to Represent Characters or Locations, Recap
Week 2 – “Interactive Music Overview and Analysis—the Video Game Composer’s Toolbox”, Oct 1st – Oct 7th Introduction, Synchronization in Video Games, Events for Synchronization, Using Interactive Music Techniques, Mapping Control-Inputs to the Score: What is Controlling the Playback of the Music?, Discussion 2.1: Spotting and Identifying Control-Inputs, The Composer’s Toolbox, Horizontal Re-Sequencing, Vertical Remixing (Dynamic Mixing), DSP (Effects), Musical Stingers, Instrumental and Arrangement Alteration, Tempo Alteration, Harmonic Approach, Melodic Adaptation, and Note Manipulation, Randomization, Discussion 2.2: Interactive Music in Video Games, Game Genres and Demographic Considerations, Music Development in Video Games, Instrumentation and Orchestration, Development, Arrangement, Pacing, and Tempo, Dynamics, 5 Quick Tips for Making Your Work Sound More Professional, Introduction to Using Crossfading to Transition Between Musical Cues, Discussion 2.3: Game of the Week—Ori and the Blind Forest, Assignment 2: Extend Your Music Themes, Recap
Week 3 – “Spotting the Game, Game Technology, and Music Loops”, Oct 8th – Oct 14th Introduction, Spotting the Game, The Music Asset List, Discussion 3.1: Spotting the Game and the Music Asset List, Software Used to Build Games: Game Development Engines, Software Used to Build Games: Audio Middleware, Quiz 3.1: Game Development Engines and Middleware, Introduction to Unity, Windows and Regions in Unity, Discussion 3.2: Building a 3D Game in Unity, Creating Seamless Music Loops, Audio File Formats and Compression, Quiz 3.2: Audio File Formats and Compression, Discussion 3.3: GDC Presentation—Assassin’s Creed III Music Score: Redefining Musical Standards for the AC Brand, Assignment 3: Creating Music Loops, Recap
Week 4 – “Interactive Music Composition: Horizontal Resequencing and Musical Transitions”, Oct 15th – Oct 21st Introduction, Horizontal Resequencing, Crossfading Scores, Crossfading Scores and Starting Points, Discussion 4.1: Alternate Starting Points, Synchronized Crossfading Scores, Discussion 4.2: Crossfading Between Two Music Loops in Unity, Composing Bridge Transitions, Exiting the First Piece of Music, Beginning the Next Piece of Music, Using a Sound Effect as a Transition, Discussion 4.3: Horizontal Resequencing, Writing Transitions and Stingers, Discussion 4.4: GDC Presentation—The Gothic Horror Music of Bloodborne, Assignment 4: Writing Transitions, Recap
Week 5 – “Interactive Music Composition Using Vertical Remixing (Layering)”, Oct 22nd – Oct 28th Introduction, Vertical Remixing (Layering), More on Layering, Quiz 5.1: Vertical Remixing and Horizontal Resequencing, Composing Using Vertical Remixing, Composing Using Vertical Remixing, Challenges with Vertical Remixing, Discussion 5.1: Composing for Vertical Remixing, Synchronized vs Non-Synchronized Layers, Stylistic Approaches to Game Music Using Layered Scores, SFX and Instrument Design, Discussion 5.2: GDC Presentation—The Art of Noise: Incorporating Aleatoric Techniques in Your Scores, Assignment 5: Composing for Vertical Remixing, Recap
Week 6 – “Using Stingers, and Implementation of Layered Music Scores in Unity”, Oct 29th – Nov 4th Introduction, Composing Musical Stingers, Discussion 6.1: Musical Stingers, Discussion 6.2: Implementing a Vertical Remixing Score within Unity, Unity’s Audio Mixers, Discussion 6.3: Adding Stingers into Your Unity Project, Comparing Horizontal Resequencing with Vertical Remixing, The Concept of Musical Interruption, Eastern and Western Scoring Approaches to Video Games, Storytelling Through Event to Event Based Scoring Using Stingers and Overlaps, Discussion 6.4: GDC Presentation—Making Full Use of Orchestral Colors in Interactive Music, Assignment 6: Creating Your Musical Stingers, Recap
Week 7 – “Interactive Music Composition: Horizontal Sequencing Using Branching”, Nov 5th – Nov 11th Introduction, Branching Scores, Branching on the Measure Start or on a Specific Beat, Discussion 7.1: Branching from Different Intensity Levels, Architecture of Branching Based Scores, Discussion 7.2: Composing for Horizontal Resequencing, Composing Techniques for Branching Based Scores, Unify Your Intensity Levels, Harmony and Development Implications, Phrase Lengths, Production and Editing Techniques for Branching Based Scores Part 1, Production and Editing Techniques for Branching Based Scores Part 2, Exercise 7.1: Interactive Music and Stingers in Video Games, Assignment 7: Creating a Branching Composition, Recap
Week 8 – “Introduction to Audio Middleware Using Audiokinetic’s Wwise Software”, Nov 12th – Nov 18th Introduction, What is Audio Middleware?, Considerations When Using Audio Middleware, Advantages and Disadvantages of Audio Middleware, Quiz 8.1: Audio Middleware Fundamentals, Audio Middleware Feature Sets for Video Game Composers, Discussion 8.1: Musical Stingers for Your Branching Project, Using Wwise for Interactive Scores: Wwise Fundamental Building Blocks for Music, WAV Files, Tracks, Segments, Playlists, Switch Containers, Wwise Communication with the Game Engine, Advanced Looping Features within Wwise, Discussion 8.2: Setting Up Your First Wwise Branching Project, Discussion 8.3: GDC Presentation—Watch Dogs: Hacking it to 11, Assignment 8: Branching and Stingers within Wwise, Recap
Week 9 – “Using Unity with Audio Middleware: Advanced Middleware Functionality in Wwise”, Nov 19th – Nov 25th Introduction, Transitions within Wwise, Adjusting the Timing of When the Music Transition Occurs, The Type of Edit Between the Cues, Transition Segments, Discussion 9.1: Implementing Your Transition Project in Wwise, Working with Audio Middleware Inside a Game Development Platform (Wwise and Unity), Wwise Events, Game Syncs, and the SoundCaster Window, Exporting SoundBanks from Wwise, Discussion 9.2: Creating Events, Using the SoundCaster Window, and Generating a SoundBank within Wwise, Setting Up Unity to Work with Wwise, Discussion 9.3: Developing a Creative Framework for a Project (Introduction to the Final Project), Assignment 9: Connecting All the Pieces Together (Unity and Wwise Integration), Recap
Week 10 – “Working in the Industry, Pricing Your Work, and Creating Demo Reels”, Nov 26th – Dec 2nd Introduction, Introducing Vertical Remixing (Layering) within Wwise, Discussion 10.1: Implementing Your Layered Project, Working in the Games Industry, Skills Required to Be a Composer in the Game Industry, What to Charge?, The Most that the Client Can Afford, The Value of Music, and the Psychology of Bidding Music, Not All Music Costs the Same, À la Carte Pricing Versus Project Fees, Would You Like Fries with that Shake?, A Note about Revisions, Assignment 10.1: Create a Realistic Estimate for a Project, Sales and Marketing: Finding Your Audience, Demo Reels to Showcase Your Work, Discussion 10.2: The Composer Website, Assignment 10.2: Final Project, Recap
Week 11 – “Game Development Teams, Career Development, and Advanced Features in Wwise”, Dec 3rd – Dec 9th Introduction, Working with a Game Development Team, Quiz 11.1: Working with a Game Development Team, Wwise Export Settings and Compression, Discussion 11.1: Exporting Soundbanks with Custom Compression Settings, Getting Everybody in Sync with One Another (Version Control Software), Common Version Control Software Used by Game Developers, Where Do Composers and Sound Designers Fit Into These Systems?, Sound Design Features within Wwise, MIDI and Instrument Design in Wwise, Negotiating Tactics, Paths to Becoming a Successful Composer, What Does 9:00 a.m. Look Like When You Are a Composer?, Discussion 11.2: GDC Presentation—Why You Didn’t Get the Gig, Assignment 11: Final Project (Continuation), Recap
Week 12 – “Advanced Interactive Music Scores, Larger Projects, and Where to Go Next”, Dec 10th – Dec 16th Introduction, What Have You Learned?, Discussion 12.1: What Are Your Next Steps?, Advanced Interactive Music Scores and Design, Advanced Skills: Real Time Mixing for Games, Approaching Larger Projects, What’s Next: Finding Resources and Inspiration Beyond the Course, Unity: Building the Game with Wwise Assets, Video Demo Reel, Assignment 12.1: Create a Video Demo Reel, Assignment 12.2: Final Project (Ending), Recap
All in all, this was an interesting course, with some very insightful and spirited conversations during the live classes. Very thought-provoking. I felt the instructor did a fine job of guiding us through the term.
Here’s what we went over during the twelve weeks:
Week 1 – “Who Are You? What Are We?”, Sep 26th – Oct 2nd Introduction, Meet and Greet, What’s the Use of Music?, Other Uses of Music, What is A Self?, Immanuel Kant, John Locke and David Hume, Charles Horton Cooley, Daniel Dennett, Workshop: Identify the Philosopher, Discussion 1.1: Which Idea of “Self” Do You Choose?, What is a Society?, Examples of Society, Discussion 1.2: What Society Do You Belong to?, In the Thick of It, Quiz 1.1: Thin or Thick Description?, Discussion 1.3: Cooley’s “The Looking-Glass Self”, Assignment 1: Thick Description, Recap
Week 2 – “What is Music?”, Oct 1st – Oct 7th Introduction, Does Music Exist?, First Implication, Second, Third, and Fourth Implication, Discussion 2.1: Do You Agree?, The Emergence of “The Work”, “Old System of Art” Before 1800, “New System of Art” After 1800, Workshop: The Emergence of “The Work”, Works and Canons, Canons, Works, Discussion 2.2: Who are the “Patrons” of Today’s Music?, Assignment 2: “The Work”, Recap
Week 3 – “How Does Music Have Meaning?”, Oct 8th – Oct 14th Introduction, How Does Music “Mean”?, Music and Semiotics, Three Categories of Signs, Workshop: Sort Signs by Mode, Why Does It Matter?, Absolute Music and Program Music, Non-Absolute Music, What is Music About?, Workshop: Match Terms, Bringing Things Into Focus, Filling in the Gaps, Filling in the Gaps Examples, Workshop: Timed Writing, Discussion 3.1: Frith’s “Performing Rites”, Assignment 3: Segmentation, Gaps, and Focalization, Recap
Week 4 – “Getting Emotional”, Oct 15th – Oct 21st Introduction, Does Music Have Emotion?, Cognitivist View, Emotivist View, Discussion 4.1: Can Music Produce an Emotion in You?, Why Do We Respond the Way We Do?, Output Variables, Input Variables, Routes to Emotion: Appraisal and Memory, Routes to Emotion: Commotion, Discussion 4.2: What Emotions Do Songs Elicit?, Making the Unfamiliar Familiar, Workshop: Identify Psychophysical Cues, Music and the Brain, Discussion 4.3: Chance Factors, Assignment 4: Share Playlist, Recap
Week 5 – “Getting Together”, Oct 22nd – Oct 28th Introduction, The Problem with Feelings, Discussion 5.1: Evaluating Music, You Are What You Listen To… Or Are You?, Discussion 5.2: What’s the “Badge”?, Fandom, Where Did Fans Come From?, Quiz 5.1: True or False?, Geek Culture, Discussion 5.3: Fan Behavior, Assignment 5: Music Interpretation, Recap
Week 6 – “The Meaning of Taste”, Oct 29th – Nov 4th Introduction, Taste and Audience, What is Taste?, Discussion 6.1: In the Best Possible Taste, Hume Sweet Hume, Advanced Genius Theory, Discussion 6.2: Advancement Theory, Taste as an Act of Faith, Sentimentality, Quiz 6.1: What’s My Line?, Discussion 6.3: Do You Agree with Wilson that Taste is “Competitive”?, Assignment 6: “Good” and “Bad” Taste in Music, Recap
Week 7 – “Music and Ritual, Part 1”, Nov 5th – Nov 11th Introduction, What is Ritual?, Ritualization, Quiz 7.1: Rite, Ceremony, Liturgy, or Routine?, Genres of Ritual, Calendrical Rites, Rites of Exchange and Communion, Discussion 7.1: Identify a Calendrical Rite, Genres of Ritual: Rites of Passage, Discussion 7.2: White Coat Ceremony, Characteristics of Ritual, Part 1, Traditionalism, Invariance, Assignment 7: Analyze a Ritual, Recap
Week 8 – “Music and Ritual, Part 2”, Nov 12th – Nov 18th Introduction, Magic Words, Quiz 8.1: Performative Utterance?, Discussion 8.1: Music and Weddings, Genres of Ritual: Affliction, Genres of Ritual: Feasting, Genres of Ritual: Political Rites, Discussion 8.2: Identify a Rite of Affliction, Feasting, and Political Rites, Characteristics of Ritual: Rule Governance, Characteristics of Ritual: Performance, Characteristics of Ritual: Sacral Symbolism, Discussion 8.3: Analysis of a Ritual, Assignment 8: Create a Ritual, Recap
Week 9 – “Music and Commerce”, Nov 19th – Nov 25th Introduction, The Sounds of Capitalism, Radio, Workshop: Timeline, Music in Commercials, How Does Music Work in Advertisements?, Discussion 9.1: Use of Music in Commercials, Going Deaf, Buying Wine, Discussion 9.2: Music and Commercial Space, Art Meets Commerce, Discussion 9.3: Does it Matter Whether It’s Painting or Art?, Assignment 9: Identify Examples of Music Intersecting with Commerce, Recap
Week 10 – “Music and Censorship”, Nov 26th – Dec 2nd Introduction, Censorship after 9/11, What is Censorship?, Quiz 10.1: What Kind of Censorship is This?, DUE NOV 30, The Specter of Censorship: The PMRC, Part 1, Discussion 10.1: The Specter of Censorship, Words, Words, Words: The PMRC, Part 2, Ripped from the Headlines, Discussion 10.2: Is Music Intrinsically Political?, Assignment 10: Censorship Analysis, Recap
Week 11 – “Music and Social Change”, Dec 3rd – Dec 9th Introduction, Music and Social Movements, “We Shall Overcome”, “Strange Fruit”, “God Save the Queen”, “Born in the U.S.A.”, “Fight the Power”, Quiz 11.1: Music and Social Movement, Pussy Riot, Songs for Social Change: Interview with Christiane Karam, Discussion 11.1: Does the Music Have to Be Good?, Assignment 11: How Has the Legacy of Protest Songs Evolved?, Recap
Week 12 – “Into the Great Wide Open”, Dec 10th – Dec 16th Introduction, Voyager 1 and 2, The Golden Record, Discussion 12.1: Voyager Golden Record, “The Mixtape of the Gods”, Discussion 12.2: Planet Earth’s Greetings, Recap and Mission, Assignment 12: Analyze the Musical Playlist on Voyager’s Golden Record, Recap
This was the fourth course I took during my twelfth term with Berklee. Overall, it was a really good class, well thought out, and put together nicely. A bit too much on the required reading, but aside from that, a very solid and useful class for people that might not have had to organize their work in this way before.
My favorite part of the course was the final project where we “volunteered” to work with other students, playing the role of project manager for our assignments while being workers for other classmates on their respective projects. I particularly enjoyed the song that my team came up with: “Hope for the Hopeless.” I’ve put the details of that project in a separate post.
Here’s what was covered:
Week 1 – “Project Management in a Nutshell”, Sep 26th – Oct 2nd Introduction, Your PM Tool Set, Meet and Greet, Reply, Introducing Some Music Makers, Project Lists, Preparing Your List, Prioritizing Your Projects, Next Actions, PM Phase Review, Quiz 1.1: Phases, Keep It Clean, Assignment 1: Project List, Recap
Week 2 – “Vision and Scope”, Oct 1st – Oct 7th Introduction, Vision, Summary and Inspiration, Quiz 2.1: Sinicrope’s Vision Clarification, Interview with Jerry Slavet, Executive Producer, Micro-Implementations, Scope Statement Practice with Emily, Quiz 2.2: Scope Creep, Quiz 2.3: Project Acceptance, Discussion 2.1: Articulate Your Vision, Reply, Assignment 2: Scope Statement, Recap
Week 3 – “Understanding the Work”, Oct 8th – Oct 14th Introduction, Interview with Elizabeth DeVore, Production Manager, The Work, WBS in Smartsheet, WBS Flow Charts, Workshop: Navigating a WBS, Exercise 3.1: Work Analysis, Reply, Quiz 3.1: WBS Code Numbers, Implementing a WBS, Assignment 3: Work Breakdown Structure, Recap
Week 4 – “Finances”, Oct 15th – Oct 21st Introduction, Interview with Dana Levit, Financial Planner, Project Financial Management, Accounting Forms, Spreadsheet Setup, Interview with Elizabeth DaVore McGuire about Budgets, Discussion 4.1: Estimating Costs, Reply, Quiz 4.1: Make It Feasible, Assignment 4: Project Budget, Recap
Week 5 – “Time”, Oct 22nd – Oct 28th Introduction, Interview with Mike King, Vice President of Enrollment Marketing, Managing Time, Understanding Timing Constraints, Day Schedule, Annual Timing Cycles, Workshop: What Comes First?, Quiz 5.1: Critical Path Practice, Discussion 5.1: Major Milestones, Assignment 5: Estimate Project’s Duration, Recap
Week 6 – “The Project Team”, Oct 29th – Nov 4th Introduction, Introducing the Final Course Project, Project Teams, Quiz 6.1: RASCI, Interview with Anne Peckham, Chair of Voice Department, Interview with Mike King, Vice President of Enrollment Marketing and Management, Exercise 6.1: Skill Lists, Interview with Jerry Slavet, Executive Producer, Jerry Slavet Discusses Hiring, Whose Project Is It?, Assignment 6: Your Project Team, Recap
Week 7 – “Execution”, Nov 5th – Nov 11th Introduction, Interview with Jerry Slavet, Executive Producer, Managing Execution, Content Creation in Context, Second Interview with Jerry Slavet, Discussion 7.1: The Management Dynamic, Quiz 7.1: Project Control, Interview with Anne Peckham, Chair of Voice Department, Interview with Elizabeth DeVore, Production Manager, Quiz 7.2: Meeting, Changing Scope, Assignment 7: Launch, Monitor, and Report, Recap
Week 8 – “Managing Workflow”, Nov 12th – Nov 18th Introduction, Discussion 8.1: Focus, Processing Stuff, Quiz 8.1: Office Components, Interview with Anne Peckham, Chair of the Voice Department, Workshop: Processing Exercise, Discussion 8.2: Vampire Removal, Final Project Check-In, Assignment 8: Organization Project, Recap
Week 9 – “Risk Management”, Nov 19th – Nov 25th Introduction, Discussion 9.1: War Stories, Interview with Elizabeth Devore, Production Manager, Risk Planning, Some Stories, Discussion 9.2: Resources, Risk Register, Workshop: Assumptions and Disasters, Interview with Emily Peal: Risk, Quiz 9.1: Rank the Risks, Interview with Bob Sinicrope, Music Teacher, Assignment 9: Your Risk Management Plan, Recap
Week 10 – “Creativity and Problem Solving”, Nov 26th – Dec 2nd Introduction, Generating and Implementing Ideas, Encouraging Ideas, Discussion 10.1: Group Brainstorming, Quiz 10.1: Idea Evaluation, Quiz 10.2: Creativity Tools, Assignment 10: Strengthening Your Project, Recap
Week 11 – “Contracts, Tax Forms, Royalties, Invoices, and Other Existential Delights”, Dec 3rd – Dec 9th Introduction, Organizing Bureaucracy, Samples and Resources, Checklist, Interview with Emily Peal: Contracts, Discussion 11.1: Your Contracts, Quiz 11.1: Contracts and VoWeLs, Interview with Dana Levit, Financial Planner, Bureaucracy and Risk, Assignment 11: Your Bureaucracy Checklist, Recap
Week 12 – “Project Closure”, Dec 10th – Dec 16th Introduction, End-of-Project Roundup, Quiz 12.1: Closure Procedures, Discussion 12.1: What’s Your Next Project?, How Do You Define Success?, Assignment 12: Final Assignment, Closure Procedures, Recap
While they were all great classes, my favorite course this term was World Music Composition Styles. As usual, I will go into detail on each class in separate posts.
This course was my favorite class of the term, actually, I think it is one of my favorite classes that I have taken with Berklee Online. That being said, it was a very challenging class in terms of the amount of material covered over twelve weeks. Very ambitious, as you can see from the weekly lesson plans below.
I was fortunate to have the course author, Phillip Sheeran, as the instructor for this class. He was excellent, in all regards. His knowledge and experience were vast and deep, and his personal music was masterful and beautiful, yet he was super humble, helpful, and approachable. I enjoyed his classes and the material that he shared with us. Just fantastic.
Here’s what we went over during these twelve weeks.
Week 1 – “World Music and Instrument Classification”, Jun 27 – Jul 1 Introduction, World Music Styles and Genres, Meet and Greet, Melody and Ornamentation, Harmony and Tonality, Tempo and Meter, Rhythm and Accents, Instrumentation and Form, Quiz 1.1: Styles and Genres , Classification of Instruments, Idiophones, Struck Idiophones, Struck Idiophones: Bars, Struck Idiophones: Tubes, Struck Idiophones: Vessels, Struck Idiophones: Gongs, Struck Idiophones: Bells, Concussion Idiophones, Shaken Idiophones, Scraped Idiophones, Lamellaphone Idiophones, Friction Idiophones, Stamping Idiophones, Workshop: Idiophone Catagories, Membranophones, Tubular Drums, Tubular Drums cont., Frame Drums, Vessel Drums, Friction Drums, Mirlitons, Workshop: Membranophone Catagories, Chordophones, Musical Bows, Zithers, Lutes, Lutes cont., Lyres, Harps, Frame Harps, Harmonics, Harmonics cont., Workshop: Chordophone Categories, Aerophones, Free Aerophones, Free Reed Aerophones, Whistle Mouthpiece Aerophones, Blow Hole Aerophones, Single Reed Pipes, Double Reed Pipes, Bagpipes, Labrosones, Organs, Workshop: Aerophone Catagories, Electrophones, Electric and Electro-Acoustic Instruments, Transducers, Electromechanical Instruments, Devices, and Sound Processing, Analogue Electronic Instruments, Digital Synthesizers, Software, Mechanical, Workshop: Electrophone Catagories, World Music Production, MIDI, Continuous Controllers, Virtual Instruments and Sample Libraries, Samples and Instruments, Sample Types, Exercise 1.1: Hardware Software Installation and Signal Flow, Workshop: Loading Virtual Instruments, Assignment 1: Analyze and Define the Characteristics of “One Love”, Recap
Week 2 – “Celtic Music from Ireland, England, and Scotland”, Jul 2nd – Jul 8th Introduction, Roots of Celtic Music, Roots of Celtic Music Examples, Listening Exercise: Celtic Artists, Melody and Form in Celtic Music, Modes Used in Celtic Music, Melody Example 1: “Caitlín Triall”, Melody Example 2: “Down by the Sally Gardens”, Melody Example 3: “Famine Irish”, Melody Example 4: “Ships are Sailing”, Melody and Form, Ornamentation in Celtic Music, Ornamentation Types, Ornamentation Examples, Quiz 2.1: Melody in Celtic Music, Workshop: Types of Oramentation, Harmony in Celtic Music, Common Chords and Progressions, Common Chord Progression Examples, Workshop: Celtic Chord Progressions, Tempo and Rhythm in Celtic Music Styles, Tempo and Rhythm Example 1: The Reel, Tempo and Rhythm Example 2: The Jig, Tempo and Rhythm Example 3: The Hornpipe, Workshop: Celtic Tempo and Rhythm Styles, Celtic Rhythmic Accompaniment, Rhythmic Accompaniment Example 1: The Reel, Rhythmic Accompaniment Example 2: The Jig, Rhythmic Accompaniment Example 3: The Hornpipe, Exercise 2.1: Progression to a Jig Melody, Instrumentation in Celtic Music, Aerophones: Bagpipes, Aerophones: The Great Highland Bagpipes, Aerophones: The Scottish Smallpipes, Aerophones: Uilleann Pipes, Aerophones: Celtic Flutes and Whistles, Aerophones: Accordions and Concertinas, Chordophones: Acoustic Guitar, Chordophones: The Mandolin, Chordophones: The Irish Bouzouki, Chordophones: The Fiddle, Chordophones: The Celtic Lever Harp, Membranophone: The Bodhrán Drum, Workshop: Celtic Instrument Matching (Part 1), Workshop: Celtic Instrument Matching (Part 2), Workshop: Celtic Instrument Matching (Part 3), Workshop: Celtic Instrument Matching (Part 4), Discussion 2.1: Impressions of the Irish Group Altan, World Music Production: Working with Dynamics, On-Velocity, Volume, Expression, Modulation, Workshop: Working with Dynamics, Workshop: Celtic Terms Review, Assignment 2: Celtic Composition Arrangement, Recap
Week 3 – “Flamenco Music from Spain”, Jul 9th – Jul 15th Introduction, Roots of Flamenco Music, Roots of Flamenco Music Examples, Harmony in Flamenco Music, Common Chord Voicings, Phrygian and Major-Phrygian Mode, Flamenco Mode, Cadences Used in Flamenco, Flamenco Tonalities, Modes and Keys Used for Cantes, Quiz 3.1: Harmony in Flamenco Music, Melody in Flamenco Music, Cante Flamenco, Flamenco Melody Example, Falseta for Soleá, Microtonality, Glissando, and Ornamentation in Melody, Guitar Ornamentation, Rhythm, Tempo, Meter, and Form in Flamenco, The 12-Beat Cycle, Soleá Compás – Rhythm and Chords, Solo for Soleá, Alegrías, Tangos, Exercise 3.1: Count, Clap, and Record a Compás, Discussion 3.1: Impressions of Flamenco Music, World Music Production: Miking a Nylon String Guitar, Instrumentation in Flamenco Music, Chordophone (Fretted Lute): Flamenco Guitar, Flamenco Guitar Notation Ranges, Struck Idiophone: Cajón, Percussion Idiophone: Clapping, Stamping Idiophone: Dancing and Singing, Workshop: Continued Listening, Workshop: Flamenco Terms Review, Assignment 3: Flamenco Music Composition Arrangement, Recap
Week 4 – “Middle East: Sufi Music from Turkey”, Jul 16th – Jul 22nd Introduction, Origins of Sufi Music, Origins of Sufi Music: “Whirling Dervishes”, Discussion 4.1: Impressions of Sufi Music, Melody in Sufi Music, Non-Tempered Tonal System with 24 Tones per Octave, The Ezgi-Arel Notation System, The Turkish Chromatic Scale, The Makam Tetrachords and Pentachords, Thirteen Basic Makam Scales, Workshop: Turkish Music Makam Comma System, Melodic Structure and Form of Sufi Music, Three Types of Melodic Directions for a Makam, Melodic Example: “Beyati Pesrevi”, Transposing a Makam, Beyati Makam in a Composition, Melodic Example: “Beyati Pesrevi,” Full Excerpt, Melodic Example: “Beyati Taksim”, Workshop: Transposition Practice and Melodic Directions, World Music Production: Microtonality in Your DAW, Exercise 4.1: Microtonality, Harmony, Tonality Keys, and Modulation of Sufi Music, “Beyati Pesrevi” Analysis, “Segah Makam” Analysis, Tempo and Rhythm in Sufi Music, “Düm” and “Tek”, Usul Patterns, “Ferahfezâ”, Exercise 4.2: Usul, Instrumentation in Sufi Music, Aerophone: Ney, Chordophones: Tanbur, Chordophone: Klasik Kemence and Violin, Chordophone: Kanun, Membranophones: Aski-Davul and Kudüm Drum, Membranophones: Daire and Bendir Frame Drum, Workshop: Sufi Music Terms Review, Assignment 4: Sufi Music Composition Arrangement, Recap
Week 5 – “West Africa: Music from Mali”, Jul 23rd – Jul 29th Introduction, Roots of the Mande People and Manding Music, The Epic of Sundiata, Malian Social Classes, Quiz 5.1: Roots of Mande People and Music, Harmony in Manding Music, “Mama” Harmony Excerpts 1 & 2, “Mama” Harmony Excerpt 3, “Iyo Djeli” Harmony Excerpt, “Iyo Djeli” Harmony Excerpt, Continued, Quiz 5.2: Harmony in Manding Analysis, Melody in Manding Music, “Iyo Djeli” Call and Response Excerpt, “Madan” Call and Response Excerpt, Discussion 5.1: “Madan” Melodic Analysis, Rhythm, Tempo, and Meter in Manding Music, Pankeke Pattern: Excerpt 1, Pankeke Pattern: Excerpt 2, Sabada: Standard Pattern, World Music Production Tip: Setting Up Reverb on an Auxiliary Bus, Exercise 5.1: Pankeke Pattern, Instrumentation Used in Manding Music, Membranophones, Idiophones, Chordophones, Chordophone: Electric Guitar, Discussion 5.2: Continued Listening and Research, Workshop: Manding Music Terms Review, Assignment 5: Mali Music Composition Arrangement, Recap
Week 6 – “South Asia: Music from India”, Jul 30th – Aug 5th Introduction, Roots of Indian Classical Music, Part 1, Roots of Indian Classical Music, Part 2, Introductory Musical Examples, Instrumentation in Indian Music, Chordophones: Tambura, Chordophones: Sitar, Chordophones: Sarod, Chordophones: Sarangi, Memranophones: Tabla, Aerophones: Bansuri, Quiz 6.1: Instrumentation in Indian Music, Rhythmic Structures in Indian Music, Rhythmic Communication, Bol and the Tabla, Most Common Bol Strokes, Common Tala (Patterns) on Tabla, Quiz 6.2: Indian Rhythms, Exercise: Matching Tala Patterns on Tabla, Melody in Indian Raga Music, The Indian Raga Melodic System, Microtones and Unequal Temperament, Quiz 6.3: Sargam, Northern System for Sargam, Six Thaats (Scales) of the Hindustani System, Four Additional Thaats (Scales) of the Hindustani System, Musical Example Using the Bhairav Thaat, Exercise 6.1: Write a Melody Using a Thaat, Southern System for Sargam, Carnatic Raga Scale No. 66, Ghavāmbhodi: Raga Scale No. 43, The Full 72 Scales, Exercise 6.1: Write a Melody Using a Carnatic Raga, Ornamentation, World Music Production Tip: Incorporating Indian Musical Concepts in Your Music, Discussion 6.1: Impressions of Music from India, Workshop: Indian Musical Terms Review, Assignment 6: Compose a Piece Incorporating Indian Musical Concepts, Recap
Week 7 – “East Asia: Traditional Japanese Music”, Aug 6th – Aug 12th Introduction, Roots of Traditional Japanese Music, Roots of Traditional Japanese Music, Roots of Traditional Japanese Music, Exercise: Japanese Style and Instrumentation Matching, Exercise: Japanese Instrumentation Matching, Harmony and Modes Used in Japanese Music, Harmony Example: “Haru no umi”, Japanese Scales and Modes, Japanese Pentatonic Scales, Japanese Pentatonic cont., Harmonic Analysis: “Haru no umi”, Quiz: Japanese Harmony and Modes, Melody in Traditional Japanese Music (Hōgaku, Sokyoku), Stable and Unstable Tones, Melody Analysis: “Sakura”, Melody Analysis 2: “Sakura”, Melody Analysis 3: “Sakura”, Melodic Analysis: “Rokudan no Shirabe”, World Music Production Tip: Producing Realistic-Sounding Ornamentation, Workshop: Sokyoku Melody, Rhythm, Tempo and Form in Sankyoku Music, Sankyoku Ensemble Piece: “Yaegoromo”, Sankyoku Analysis 1, Sankyoku Analysis 2, Instrumentation in Sankyoku Music, Chordophones: Koto, Chordophones: Shamisen, Chordophones: Shamisen Tuning, Aerophones: Shakuhachi, Discussion: Impressions of Traditional Japanese Music, Exercise: Japanese Musical Terms Review, Assignment 7: Japanese Music Composition Arrangement, Recap
Week 8 – “Caribbean: Music from Cuba”, Aug 13th – Aug 19th Introduction, Roots of Cuban Music, Roots of Cuban Music Examples, Introductory Musical Example, Quiz 8.1: Roots of Cuban Music, Tempo and Rhythm in Cuban Music, Types of Claves, Exercise: Rhythm and Tempo Matching, Cuban Music Styles, Son-Montuno, Bolero, Guajira, Exercise 8.1: Write a Chord Progression, Melody in Cuban Music, Son-Montuno Melody Pattern 1, Son-Montuno Melody Pattern 2, Exercise 8.2: Write a Son-Montuno Chord Progression, Harmony Structure and Form in Son, Harmony Structure and Form in Bolero, Bolero Analysis: “Dos Gardenias” (Part 1), Bolero Analysis: “Dos Gardenias” (Part 2), Quiz 8.2: “Dos Gardenias” Bolero, Instrumentation in Cuban Music, Labrosones: Trumpet, Chordophone: Tres, Struck and Shaken Idiophones, Membranophones: Bongos, Tumbas, Batá, Timbales, World Music Production Tip: Miking Congas and Bongos, Discussion 8.1: Continued Listening and Impressions of Cuban Music, Workshop: Cuban Music Terms Review, Assignment 8: Caribbean Music Composition Arrangement, Recap
Week 9 – “Latin America: Music from Brazil”, Aug 20th – Aug 26th Introduction, Roots of Brazilian Music, Carnaval, Samba, Choro, Bossa Nova, Quiz 9.1: Roots of Brazilian Music, Workshop: Brazilian Music Styles Matching, Instrumentation in Brazilian Music, Chordophones: Cavaquinho, Chordophones: Violão, Chordophones: Viola Caipira, Samba Percussion of the Bateria: Idiophones, Samba Percussion of the Bateria: Membranophones, Samba Percussion of the Bateria: Membranophones cont., Aerophones: Flute, Aerophones: Saxophone, Aerophones: Clarinet, Labrosones: Trombone, Workshop: Brazilian Instrument Matching (Part 1), Workshop: Brazilian Instrument Matching (Part 2), Workshop: Brazilian Instrument Matching (Part 3), Workshop: Brazilian Instrument Matching (Part 4), Workshop: Brazilian Instrument Matching (Part 5), Workshop: Brazilian Instrument Matching (Part 6), Up-Tempo Styles: Samba Batucada, Up-Tempo Styles: Samba Canção, Up-Tempo Styles: Samba Partido Alto, Mid-Tempo Styles: Bossa Nova, Mid-Tempo Styles: Baião, Exercise 9.1: Brazilian Rhythmic Patterns, Harmony in Brazilian Music, Upbeat Samba Harmony, Harmony Used in Bossa Nova and Samba, Harmony Analysis: “Chega De Sudade”, Moody Intros and Altered Harmony, Exercise 9.2: Bossa Nova, Melody in Brazilian Music, Samba Melodic Example: “O Pato” (Part 1), Samba Melodic Example: “O Pato” (Part 2), Baião Melodic Example: Aparição (Part 3), Baião Melodic Example: Aparição (Part 4), Exercise 9.3: Melody and Harmony, Discussion 9.1: Impressions of Music from Brazil, Workshop: Brazilian Music Terms Review, Assignment 9: Brazilian Music Composition Arrangement, Recap
Week 10 – “Latin America: Tango Music from Argentina”, Aug 27th – Sep 2nd Introduction, Roots of Argentine Tango Music, Buenos Aires, Argentina: Birthplace of the Tango Style, Introductory Musical Example, Discussion 10.1: Research, Astor Piazzolla, Rhythm, Tempo, and Meter in Tango, “Ausencias:” Tango Rhythm Example 1, “Ausencias:” Tango Rhythm Example 2, “Street Tango:” Tango Rhythm Example 3, Workshop: Rhythm in Tango, “Adios Nonino” Harmony Analysis (Part 1), “Adios Nonino” Harmony Analysis (Part 2), “Adios Nonino” Harmony Recap and Performance, Exercise 10.1: Write a Tango Chord Progression, Melody and Form in Tango, “Milonga Del Angel” Melody and Form Analysis 1, “Milonga Del Angel” Melody and Form Analysis 2 (Part 1), “Milonga Del Angel” Melody and Form Analysis 2 (Part 2), Chromaticism in the Bass and Melody during Variations, Ornamentation in Tango, Quiz 10.1: Melody in Tango, World Music Production Tip: Sequencing with Multiple Tempo Changes, Instrumentation Used in Tango Music, Argentine Tango Ensemble Instrumentation, Quiz 10.2: Tango Instrumentation, Discussion 10.2: Impressions of Tango Music, Workshop: Tango Musical Terms Review, Assignment 10: Tango Music Composition Arrangement, Recap
Week 11 – “Oceania: Music from Australia and Oceania”, Sep 3rd – Sep 9th Introduction, Roots of Indigenous Australian Music, Musical Example of Indigenous Australian Music, Quiz 11.1: Roots of Indigenous Australian Music, Rhythm, Tempo, Meter and Form in Indigenous Australian Music, Metered, Unmetered and Tempo in Wangga Songs, Unmetered Excerpt 1: “Wilumen Tulh”, Metered Excerpt 2: “Wilumen Tulh”, Even Metered Excerpt: “Yagarra Delhi Nye-bindja-ng Barra Ngarrka”, Isorhythm and Cyclical Rhythm Excerpt: “Bangany-nyung Ngaya”, Noncyclical and Cyclical Melodic Phrases Excerpt: “Bangany-nyung Ngaya”, Form in Wangga, Quiz 11.2: Rhythm, Tempo, and Meter in Indigenous Australian Music, Workshop: “Bangany-nyung Ngaya” Form Matching, World Music Production Tip: Making a Sampler Instrument, Melody in Indigenous Australian Wangga Song, Scales and Modes in Indigenous Australian Music, Tetrachords Species, Melodic Shape and Range, Melodic Excerpt 1: “Bangany-nyung Ngaya”, Melodic Excerpt 2: “Truwu”, Melodic Excerpt 3: “Truwu”, Exercise 11.1: Indigenous Australian Melody and Accompaniment, Instrumentation in Indigenous Australian Music, Aerophone: Didjeridu, Idiophone: Concussion and Stomping, Quiz 11.3: Indigenous Australian Instrumentation, World Fusions, World Fusion Song Example: “Treaty”, “Treaty,” Excerpt 1, “Treaty,” Excerpt 2, World Fusions Concepts, Discussion 11.1: Impressions of Indigenous Australian Music, Workshop: Indigenous Australian Musical Terms Review, Assignment 11: World Music Fusion Project, Recap
Week 12 – “Orchestral World Fusion”, Sep 10th – Sep 16th Introduction, Celtic Orchestral World Fusion: Braveheart, String Introduction, Cadence Derived from Mixolydian Mode, Instrumentation of Braveheart, Discussion 12.1: Celtic and Orchestral Elements Used in Braveheart, Flamenco Orchestral World Fusion: The Mask of Zorro, Flamenco Mode: Melody and Harmony, Andalusian Cadence, Flamenco Instrumentation and Rhythm, Full Orchestration, Discussion 12.2: Orchestral World Fusion, Workshop: World Fusion Elements, Excerpt 1, Workshop: World Fusion Elements, Excerpt 2, Workshop: World Fusion Elements, Excerpt 3, Workshop: World Fusion Elements, Excerpt 4, Workshop: World Fusion Elements, Excerpt 5, Workshop: World Fusion Elements, Excerpt 6, Workshop: World Fusion Elements, Excerpt 7, World Music Production: Mixing Orchestral and Non-Orchestral Material, Orchestral Production Material, Non-Orchestral Production Material, Any Type of Mixing or Material Tips, Assignment 12: Final Project, Recap
Here’s the audio for the piece that I put together as a Final Project. The full score follows below.
