Hope for the Hopeless

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!

Photo by Joseph Driscoll on Unsplash

Berklee Online – Term 12

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.

The classes that I took this time around were Creative Writing: Poetry, Interactive Scoring for Games, “Music, Self, and Society“, and Project Management for Musicians.

As usual, I will go into detail on each class in separate posts.

Creative Writing: Poetry

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 8 – “Blank Verse Again”, Nov 12th – Nov 18th
Introduction, Blank Verse Again, Exercise: Blank Verse and Substitutions, Exercise: “A Wake”, Exercise 8.1: “Still”, Optional Reading: “Swan(s)”, Assignment 8: 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

Interactive Scoring for Games

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

Music, Self, and Society

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

Project Management for Musicians

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