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.
This was a Social Science course that I took to fulfill the requirements of the degree program that I am currently in. The class was an overview of the film and television industries since their respective inceptions. There was lots of reading, watching films & tv shows, and analysis. Overall I enjoyed the course, the material was well presented, and the instructor was great.
This is what we went over:
Week 1 – “Classical Hollywood Cinema”, Jun 27 – Jul 1 Introduction, Meet and Greet, The Eye and the I of Cinema (Part 1), The Eye and the I of Cinema (Part 2), Classical Hollywood Cinema, Film Narrative, Film Narrative: Apollo 13, Film Style, Terms for Film and Television Analysis, Terminology, Discussion 1.1: Classical Hollywood Cinema in Your Favorite Movie, How to Approach Assignments in the Course, Assignment 1: Classical Hollywood Cinema in Early Films, Recap
Week 2 – “Early Cinema: From Muybridge to The Great Train Robbery”, Jul 2nd – Jul 8th Introduction, Photography into Moving Image: Muybridge and Early Image Toys (Part 1), Photography into Moving Image: Muybridge and Early Image Toys (Part 2), The Beginnings of Cinema: Reality, Artifice, and Spectacle: Edison, Lumière and Méliès, Edison: Entertainment, Lumière Brothers and The Cinematographe: Actualites, Méliès: The “Magic” of Illusion, Narrative and Style Together, The Great Train Robbery (1903), Discussion 2.1: What Surprises You About Early Cinema?, Assignment 2: How a Story Is Told Visually, Recap
Week 3 – “Silent Film”, Jul 9th – Jul 15th Introduction, The Language of Film Develops, Film Aesthetics Develop, Narrative and Conventions: Genre, Narrative and Conventions, lt, Music in the Silent Era, Discussion 3.1: It in Cultural Context, Assignment 3: Analyze a Silent Film from the List Provided, Recap
Week 4 – “Coming of Sound in Film in the 1930 and ’40s”, Jul 16th – Jul 22nd Introduction, Narrative and Acting in Sound Film, Diegesis: The World of the Film, Practice Exercise: Screen Bringing Up Baby, Genre Iconography, Life Cycle of a Genre, Including Television, The Studio System, Discussion 4.1: Approaches to Bringing Up Baby, Assignment 4: A Film That Exemplifies or Revises Genre, Recap
Week 5 – “Film Sound”, Jul 23rd – Jul 29th Introduction, Why Do We Even Have Music in Films?, Bernard Herrmann, Diegetic and Non-Diegetic Sound, The Sound Mix, Practice Exercise: Interactive Sound Editing, The Elements of a Score, Sound and Image Make Meaning, Further Discussion of Film Sound, Discussion 5.1: Film Sound in Citizen Kane, Assignment 5: Interactive Assignment in Sound Mixing, Recap
Week 6 – “Network Television”, Jul 30th – Aug 5th Introduction, Origins of Television Culture: I Love Lucy, Television Genres, Economics of Production, Discussion 6.1: Television in Everyday Life, Assignment 6: Analyzing an Episode of a TV Show, Recap
Week 7 – “Documentary, Experimental, and Animated Film and Television”, Aug 6th – Aug 12th Introduction, Beyond Classical Hollywood Cinema, Documentary, Experimental and Avant-Garde, Animation, Influences on Mainstream Film and Television, Discussion 7.1: Reality Television, Assignment 7: Innovations That Influence Mainstream Film, Recap
Week 8 – “Mise-en-Scene: What Is in the Shot”, Aug 13th – Aug 19th Introduction, Setting, Costume and Makeup, Lighting, Performance and Movement (Acting, Blocking, Staging), Composition: Framing, Composition: Movement within the Frame, Discussion 8.1: Rear Window, Assignment 8: Mise-en-Scène, Recap
Week 9 – “Cinematography: Photographic Qualities of the Shot”, Aug 20th – Aug 26th Introduction, The Look of an Image, Practice Exercise: Lens Selection, List of Shots, Extreme Long Shot, Long Shot, Medium Long Shot, Medium Shot, Medium Close-Up and Close-Up, Extreme Close-Up, Framing, Scale/Proximity, Camera Movement, How the Camera “Speaks”: The Language of Film, Discussion 9.1: Breathless, Assignment 9: Significant Shot, Recap
Week 10 – “Editing”, Aug 27th – Sep 2nd Introduction, Continuity Editing: Invisible Style, The Development of Editing, Montage: Editing as Art, Editing in Television, Practice Exercise: Editing, Discussion 10.1: The Graduate, Assignment 10: Editing, Recap
Week 11 – “Television in the Cable and Internet Eras”, Sep 3rd – Sep 9th Introduction, Television Genres, Social Context, Spectatorship in the Cable and Internet Era, Streaming Services, What Stays the Same: The Sitcom Today, Discussion 11.1: Cliffhangers, Assignment 11: Genre, Recap
Week 12 – “The Digital Era”, Sep 10th – Sep 16th Introduction, The Digital Revolution, Digital Technology and Acting, From CGI to Whole Sets, Worlds, and Digital Performers, Creating Crowds for Lord of the Rings, What is Digital Cinema?, Transmedia, Digital Television: Aesthetics and Narratives, Discussion 12.1: Transmedia Example, Assignment 12: Bringing it all Together, Recap
I really enjoyed this class. It delved into which chord scales to use when on real songs. It was a lot of work just to get things going but helped to make it super clear what to do, and when.
I think the highlight of the class was the instructor, Jim Odgren. He was super cool in his live classes and knows this stuff inside and out. He always provided super prompt and thoughtful feedback on the assignments.
I’m not sure that I would have enjoyed this class as much if it wasn’t for Jim. He was a bit of a bridge between Mr. Burton’s course materials and each student’s current level of understanding/ability. He definitely helped make the information a bit more approachable and enjoyable.
One bit of advice that Jim gave that I found to be particularly useful in learning the tunes in the course was:
Take the first 4 bars of the tune and play the melody 5 times while looking at the music, 5 times looking away. For the next 4 bars, use the same approach, then do the full 8 bars, doing the same thing. Then use the same approach for the rest of the tune.
Jim Odgren
Here’s what we covered in the 12 weeks.
Week 1 – “What is Improvisation?”, Jun 27 – Jul 1 Introduction, Meet and Greet, The Language of Jazz Improvisation, The Relationship Between Spoken Language and Improvised Music, Solo Analysis, Gary’s Picks, Exercise 1.1: Listening Analysis, Assignment 1: Improvisation Analysis, Recap
Week 2 – “Chord Outlines and Scales”, Jul 2nd – Jul 8th Introduction, Chord Tones, Chord Scales, The 10 Scales, The 10 Scales: Seven Modes, The 10 Scales: Dominant 7 Alternatives, The 10 Scales: Altered and Symmetrical, Workshop: Scale Practicing Method, Exercise: Scale Practice, Outlining the Chord with the Scale, Discussion 2.1: Scale Practice, Assignment 2: Understanding and Playing Scales, Recap
Week 3 – “Identifying Chord Scales”, Jul 9th – Jul 15th Introduction, Choosing a Chord Scale, Finding the Correct Chord Scale in Practice, Finding the Correct Minor Chord Scale, Minor Chord Examples, Finding the Correct Dominant Chord Scale, Workshop: Chord Scale Method Review, Exercise: Determining the Chord Scale, Discussion 3.1: Identifying the Proper Scales, Assignment 3: Write the Correct Chord Scales, Recap
Week 4 – “Harmony for the Improviser”, Jul 16th – Jul 22nd Introduction, Helping Move the Harmony, V to I, Guide-Tone Lines, Common Tones, Harmonic Variation and Constant Structure, Chromatic Movement, Exercise: Moving the Harmony in Familiar Tunes, Discussion 4.1: Harmony Analysis, Assignment 4: Identifying Guide-Tone Lines, Recap
Week 5 – “Melodic Development”, Jul 23rd – Jul 29th Introduction, Theme, Theme and Development, Three Characteristics of Melodic Form, Developing a Theme Over Chord Changes:”On Green Dolphin Street”, Duration of a Theme, Exercise: Developing a Theme Over a Single Chord, Discussion 5.1: Melodic Structure, Assignment 5: Developing a Theme, Recap
Week 6 – “Playing on the Blues”, Jul 30th – Aug 5th Introduction, The Blues Form, Blues Chord Scales, Approaching the Blues, Minor Blues, “Syndrome”, “Sing Me Softly Of The Blues”, Exercise: Playing the Blues, Discussion 6.1: Blues-Based Compositions, Assignment 6: Improvising on the Blues, Recap
Week 7 – “Song Analysis”, Aug 6th – Aug 12th Introduction, “Olhos De Gato”, Chord Scales, Compositional Structure, First Eight Bars, Second Eight Bars, “Israel”, “Israel” Chord Scales, “Israel” Compositional Stucture, Exercise: Playing “Israel”, Discussion 7.1: Song Form, Choosing Songs, Assignment 7: “Day Waves”, Recap
Week 8 – “Song Analysis (Part 2)”, Aug 13th – Aug 19th Introduction, “Day Waves”, “Day Waves” Compositional Structure, “Day Waves” Second Half, “Sweet Rain”, “Sweet Rain” Compositional Structure, Exercise: Playing “Sweet Rain”, Discussion 8.1: Choosing Repertoire, Assignment 8: “Waltz For A Lovely Wife”, Recap
Week 9 – “Song Analysis (Part 3)”, Aug 20th – Aug 26th Introduction, “Waltz For A Lovely Wife”, “Waltz For A Lovely Wife” Analysis, “Semblance”, “Semblance” Analysis, Exercise: Playing “Semblance”, Discussion 9.1: What Makes a Good Song?, Assignment 9: Student Choice, Recap
Week 10 – “Advice on Soloing”, Aug 27th – Sep 2nd Introduction, Approaching the Solo, Conversational Soloing, Length and Pacing of a Solo, Dynamics, Chromaticism, Diminished Harmony, Symmetrical Diminished Scale, Exercise: Using Three Diminished Scales, Understanding the Sus4 Chord, Improving Time Feel, Exercise: Continuous Eighth Notes, Connecting Chord Scales, Soloing on Ballads, Play Like a Butterfly, Discussion 10.1: Tips, Assignment 10: Soloing in Practice, Recap
Week 11 – “Comping”, Sep 3rd – Sep 9th Introduction, A Personal History of Comping, The Role of Comping, Straight Eighth-Note Comping, Contrast, General Comping Tips, Comping Approaches, Listen Up!, Comping on Ballads, Gary’s Picks, Discussion 11.1: Comping in Various Settings, Assignment 11: Comping Effectively, Recap
Week 12 – “Communicating with the Unconscious”, Sep 10th – Sep 16th Introduction, The Art of Improvisation, Learning and Unlearning, Evolution of the Learning Process, Role of the Unconscious Mind, Understanding the Unconscious Mind, Role of Conscious Thought, Putting it All Together, The Importance Recording your Improvisations, Demystifying the Process, Practice Tip, Exercise: Two Practices, Discussion 12.1: Evaluating Your Thought Process, Assignment 12: Final Project, Recap
This class was a bit more challenging than I thought it would be at the outset. There were lots of exercises to do (often there was something due every day of the week) and the instructor could be a bit demanding and particular in what he thought should be happening in the assignments. Which I thought was odd given that this was such a subjective topic, creative writing.
All in all, it was a very good course and the instructor, while particular and a bit strict, was always super prompt with feedback and responses to any questions I had, and was willing to hear my point of view. Overall I think he just wanted to provide value and insight to everyone in the class.
Here’s what we went over during the twelve weeks.
Week 1 – “Sense-Bound Writing—’What’ Writing”, Jun 27 – Jul 1 Introduction, Meet and Greet, Getting Close to Your Senses, Exercise 1.1: Staying Close to Your Senses, Exercise 1.2: Electric Fence, Exercise 1.3: 8-Ball, Exercise 1.4: Using All of Your Senses, Exercise 1.5: Corner Store, Exercise 1.06: Subway, Exercise 1.7: Sharpening the Way You See the World, Exercise 1.8: Jack Knife, Exercise 1.9: High Heels, Exercise 1.10: Keeping Your Writing Eyes Open, Exercise 1.11: Valentine, Exercise 1.12: Cowboy Hat, Discussion 1.1: Writing from the Senses, Assignment 1: Sense-Bound Writing, Recap
Week 2 – “Writing from Person—’Who’ Writing”, Jul 2nd – Jul 8th Introduction, Point of View, Third-Person Narrative, First-Person Narrative, First-Person Narrative Example, Direct Address, Direct Address Example, Second-Person Narrative, Second-Person Narrative Example, Third-Person Pronouns, Choosing Point of View, Giving Feedback, Exercise 2.1: Who. Writing from the Outside: Third-Person Narrative, Exercise 2.2: Parish Priest, Exercise 2.3: Rock Climber, Exercise 2.4: Who. Writing from the Inside: First-Person Narrative, Exercise 2.5: Parish Priest, Exercise 2.6: Rock Climber, Exercise 2.7. Who. Writing from the Outside: Second-Person Narrative, Exercise 2.8: Grandmother Tending Her Garden, Exercise 2.9: Eight-Year-Old Boy at the Playground, Exercise 2.10: Writing from the Inside: Direct Address, Exercise 2.11: Taxi Driver, Exercise 2.12: Hotel Operator, Discussion 2.1: Writing from Person, Assignment 2: Writing from Person, Recap
Week 3 – “Writing from Time—’When’ Writing”, Jul 9th – Jul 15th Introduction, Writing from Time, Creating a Context, Examples, Giving Feedback, Exercise 3.1: Writing in Past Tense, Exercise 3.2: Last of Winter, Exercise 3.3: Summer Vacation, Exercise 3.4: Writing Past Tense to Present Tense, Exercise 3.5: First Day of School, Exercise 3.6: 6 a.m., Exercise 3.7: Writing Present Tense to Future Tense, Exercise 3.8: Retirement, Exercise 3.9: Morning Coffee, Exercise 3.10: Writing in All Three Tenses, Exercise 3.11: Spring Break, Exercise 3.12: Midnight, Discussion 3.1: Writing from Time, Assignment 3: Writing from Time, Recap
Week 4 – “Writing from Place—’Where’ Writing”, Jul 16th – Jul 22nd Introduction, “Where” Writing, Locating Characters in Space and Time, Sentence Types, Giving Feedback, Exercise 4.1: Combining Point of View, Sense, and Place, Exercise 4.2: Swimming Hole, Exercise 4.3: Fourth-Floor Walk-Up, Exercise 4.4: Combining Third-Person Narrative, Moving from Past to Present Tense, and Place, Exercise 4.5: High-School Gym, Exercise 4.6: Grocery Aisle, Exercise 4.7: Combining Second-Person Narrative, Moving from Present to Future Tense, Senses, and Place, Exercise 4.8: Back Seat, Exercise 4.9: Candy Shop, Exercise 4.10: Combining Direct Address, Moving through Tenses, Senses, and Place, Exercise 4.11: Airport, Exercise 4.12: Dress Shop, Discussion 4.1: Writing from Place, Assignment 4: Writing from Place, Recap
Week 5 – “Metaphor—Adjectives and Nouns”, Jul 23rd – Jul 29th Introduction, Making Metaphors, Ideas, Types of Metaphor: Expressed Identity, Qualifying Metaphor and Verbal Metaphor, Giving Feedback, Day 2: Adjective/Noun Collisions, Exercise 5.1: Adjective/Noun Collisions, Exercise 5.2: Adjective/Noun Collisions, Exercise 5.3: Working from Adjectives to Nouns, Exercise 5.4: Working from Nouns to Adjective, Discussion 5.1: Metaphor—Adjectives and Nouns, Assignment 5: Metaphor—Adjectives and Nouns, Recap
Week 6 – “Metaphor—Nouns and Verbs”, Jul 30th – Aug 5th Introduction, Working with Nouns and Verbs, Giving Feedback, Day 2: Noun/Verb Collisions, Exercise 6.1: Noun/Verb Collisions, Exercise 6.2: Noun/Verb Collisions, Exercise 6.3: Working from Nouns to Verbs, Exercise 6.4: Working from Verbs to Nouns, Discussion 6.1: Metaphor—Nouns and Verbs, Assignment 6: Metaphor—Nouns and Verbs, Recap
Week 7 – “Metaphor—Expressed Identity”, Aug 6th – Aug 12th Introduction, Working with Nouns, Working with Expressed Identity, Giving Feedback, Exercise 7.1: Noun/Noun Collisions, Exercise 7.2: Noun/Noun Collisions, Exercise 7.3: Creating Noun/Noun Collisions, Exercise 7.4: Creating Noun/Noun Exercises, Discussion 7.1: Metaphor—Expressed Identity, Assignment 7: Metaphor—Expressed Identity, Recap
Week 8 – “Metaphor—Linking Qualities”, Aug 13th – Aug 19th Introduction, Words in Families and Keys, The Relationships Between Ideas, and Target Ideas, Giving Feedback, Exercise 8.1: Linking Qualities and Target Ideas, Exercise 8.2: Linking Qualities and Target Ideas, Exercise 8.3: Linking Qualities and Target Ideas, Exercise 8.4: Linking Qualities and Target Ideas, Discussion 8.1: Metaphor—Linking Qualities, Assignment 8: Metaphor—Linking Qualities, Recap
Week 9 – “Finding Linking Qualities”, Aug 20th – Aug 26th Introduction, Determining Essential and Linking Qualities, Giving Feedback, Exercise 9.1: Finding Linking Qualities and Target Ideas, Exercise 9.2: Linking Qualities and Target Ideas, Exercise 9.3: Linking Qualities and Target Ideas, Exercise 9.4: Linking Qualities and Target Ideas, Discussion 9.1: Finding Linking Qualities, Assignment 9: Finding Linking Qualities, Recap
Week 10 – “Working Both Directions”, Aug 27th – Sep 2nd Introduction, Reversing Metaphor Direction, Exploring Through the Lens of the Target Idea, Another Sample Prompt, Giving Feedback, Exercise 10.1: Working Both Directions with a Target Idea, Exercise 10.2: Working Both Directions, Exercise 10.3: Exploring Through the Lens of the Target Idea, Exercise 10.4: Working Both Directions on a Target Idea, Discussion 10.1: Working Both Directions, Assignment 10: Working Both Directions, Recap
Week 11 – “Continuing to Work Both Directions”, Sep 3rd – Sep 9th Introduction, Reversing Direction through Linking Qualities, Giving Feedback, Exercise 11.1: Exploring a Prompt Through the Lens of Your Target Idea and Vice Versa, Exercise 11.2: Exploring a Prompt Through the Lens of Your Target Idea and Vice Versa, Exercise 11.3: Exploring a Prompt Through the Lens of Your Target Idea and Vice Versa, Exercise 11.4: Exploring a Prompt Through the Lens of Your Target Idea and Vice Versa, Discussion 11.1: Continuing to Work Both Directions, Assignment 11: Continuing to Work Both Directions, Recap
Week 12 – “The Grand Finale”, Sep 10th – Sep 16th Introduction, Preparing for your Final Project, Discussion 12.1: Final Project, Final Project: Sharing Your Voice, Recap
Here is what I put together for my final project. We had the option to write an essay or a song based on the prompt of “Earthquake”. I opted to write a song. Photo by Shefali Lincoln on Unsplash
Here’s something that I wrote for a timed exercise in the Creative Writing: Finding Your Voice class that I’m taking this term. My wife liked it so much she thought I should post it on my site. So here it is.
Do you remember the first time that I asked you? To be mine? To be my one and only, my valentine? It wasn’t actually on Valentines Day, but sometime later in 2008. When our eyes met and my heart couldn’t escape. Nothing has changed in all the days since, other than that I love you more than I thought I could, I’m convinced. The days and nights flew by, filled with tenderness and passion, in ways that I had always hoped for, yet could have never imagined. Everything was new and felt like an adventure. Even places I had been to a thousand times offered new treasures. The colors were so vivid and ever so bright, even in the darkness there seemed to be light. Food never tasted so delicious or so scrumptious, were these just the responses of endorphins on our systems or something more auspicious? I had no idea of what was to come, that soon, before long our lives would become one. I am so happy and forever grateful that you are my love, companion and friend, all of which I hope will never end. You have brought so much to my life and I am so proud to call you my wife. Thank you, Valentine.
