Performance Philosophy is an emerging interdisciplinary field of thought, creative practice and scholarship. The Performance Philosophy book series comprises monographs and essay collections addressing the relationship between performance and philosophy within a broad range of philosophical traditions and performance practices, including drama, theatre, performance arts, dance, art and music. The series also includes studies of the performative aspects of life and, indeed, philosophy itself. As such, the series addresses the philosophy of performance as well as performance-as-philosophy and philosophy-as-performance.

African-American theatre has a rich long history that is part of the heritage of this art form. This assignment gives students the opportunity to take a deeper dive into one topic personally, and benefit from other student's work in broadening their knowledge of this art form.Student will choose a topic from the choices provided, conduct research, and prepare & present their findings in a 5-minute presentation. The presentation may be done live in a face-to-face class, live in a synchronous virtual class, or recorded for an asynchronous class.

Long Description:
An American Playgoer at Home serves as a companion volume to An American Playgoer in London. It captures the author’s theatregoing on his home territory in Northampton and Amherst, Massachusetts, in Hartford, Connecticut, in New York City, and in other places in the USA and in Canada as well. As a companion volume it covers approximately the same period of roughly four decades, from the early 1970s into the second decade of the new century. Almost all of the reviews are of live theatre; a few are of films that have an important dramatic quality or are a film version of an existing play, as in the instance of O’Neill’s The Iceman Cometh.

Word Count: 187703

ISBN: 978-1-945764-13-4

(Note: This resource's metadata has been created automatically as part of a bulk import process by reformatting and/or combining the information that the author initially provided. As a result, there may be errors in formatting.)

This course surveys the development of popular music in the United States and in a cross-cultural milieu relative to the history and sociology of the last two hundred years. It examines the ethnic mixture that characterizes modern music, how it reflects many rich traditions and styles, and provides a background for understanding the musical vocabulary of current popular music styles.

Selected readings within an allegorical universe replacing American sovereignty with an Order of the Diaspora.  Intended as a play on the sovereignty of the people spoken of in the Preamble to the Constitution lesson work.

This class examines the ways humans experience the realm of sound and how perceptions and technologies of sound emerge from cultural, economic, and historical worlds. In addition to learning about how environmental, linguistic, and musical sounds are construed cross-culturally, students learn about the rise of telephony, architectural acoustics, and sound recording, as well as about the globalized travel of these technologies. Questions of ownership, property, authorship, and copyright in the age of digital file sharing are also addressed. A major concern will be with how the sound/noise boundary has been imagined, created, and modeled across diverse sociocultural and scientific contexts. Auditory examples — sound art, environmental recordings, music — will be provided and invited throughout the term.

This course examines traditional performances of the Arabic-speaking populations of the Middle East and North Africa. Starting with the history of the ways in which the West has discovered, translated and written about the Orient, we will consider how power and politics play roles in the production of culture, narrative and performance. This approach assumes that performance, verbal art, and oral literature lend themselves to spontaneous adaptation and to oblique expression of ideas and opinions whose utterance would otherwise be censorable or disruptive. In particular we will be concerned with the way traditional performance practices are affected by and respond to the consequences of modernization.
Topics include oral epic performance, sacred narrative, Koranic chant performance, the folktale, solo performance, cultural production and resistance.

This packet is a pre-fab creation I have used for multiple shows over the years. I have tweaked to fit the needs of the many companies I have worked with and for from elementary through high school. However, you could make changes to fit any level group. Break a leg on your next show and enjoy the resource!

This supplement was designed to help students build a strong foundation in aural training and sight singing by progressing through the core rhythmic and melodic patterns that are found in music. Through the progression of content, students will build skills in pattern recognition and an understanding of how music functions. Rhythms for each section include single and two-part examples as well as pitched examples for use in aural training. Melodies for each section include single line melodies, canons, duets, and chorales. Melodies were designed to be easily accessible for students with basic keyboard skills, and were written without articulation and dynamic markings to allow students and instructors the flexibility to personalize them.

A Metabiological Pentateuch

Short Description:
In this bold cycle of five plays, featuring an extensive introduction, George Bernard Shaw examines society’s ills and imagines a solution which takes his audience from the Garden of Eden to as far as thought can reach.

Long Description:
Can modern civilization honestly hope to have competent leaders, given that the complexities of society are too great for any one person to truly grasp? Even back in 1921, George Bernard Shaw thought such expectations were unrealistic. How then can contemporary societies hope to thrive?

For modern civilizations to prosper, Shaw argues that increased longevity is essential. In Back to Methuselah: A Metabiological Pentateuch, Shaw imagines a history in which extreme longevity can be reached through creative evolution, a process motivated by humanity’s creative impulse. Although Shaw rooted his theories in Lamarckian science, which has since fallen out of scientific favor, Shaw’s artistic achievements continue to demand our attention.

Back to Methuselah features an extensive introduction that details Shaw’s ideas and five plays which bring those ideas to life, imagining a new human history, stretching out one idea, one myth, from the Garden of Eden to as far as thought can reach. A metabiological pentateuch, indeed.

Word Count: 112336

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Long Description:
For several decades, Chicanx and Indigenous theatermakers have been repurposing Shakespeare’s plays to reflect the histories and lived realities of the US–Mexico Borderlands and to create space to tell stories of and for La Frontera. Celebrating this rich tradition, The Bard in the Borderlands: An Anthology of Shakespeare Appropriations en La Frontera brings a wide range of Borderlands Shakespeare plays together for the first time in a multi-volume open-access scholarly edition.

This anthology celebrates the dynamic, multilingual reworking of canon and place that defines Borderlands Shakespeare, and it situates these geographically and temporally diverse plays within the robust study of Shakespeare’s global afterlives. The editors offer a critical framework for understanding the artistic and political traditions that shape these plays and the place of Shakespeare within the multilayered colonial histories of the region. Borderlands Shakespeare plays, they contend, do not simply reproduce Shakespeare in new contexts but rather use his work in innovative ways to negotiate colonial power and to envision socially just futures.

Word Count: 105607

ISBN: 9780866988407

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This open book by Catherine Schmidt-Jones has units on time elements (rhythm and meter), pitch elements (timbre, melody, and harmony), and the combination of these elements. The textbook is being provided in both PDF and html formats for download.

This class surveys the music of the Beatles, from the band’s early years to the break-up of the group, mapping how the Beatle’s musical style changed from skiffle and rock to studio-based experimentation. Cultural influences that helped to shape them, as well as the group’s influence worldwide, will be a continuous theme.

This course will present students with an overview of Brazilian popular music, from the late nineteenth century to the present day. Considered an advanced course, it aims to build vocabulary competence and improve oral communication through the study and discussion of topics about cultural aspects and current issues in Brazil. It is designed to give students extensive experience in Portuguese and emphasizes skill development and refinement in the area of critical reading and writing in Portuguese.

This course surveys Romantic musical genres including song, choral music, opera, piano sonata, character cycle, concerto, symphony, and symphonic poem, including the composers Beethoven, Schubert, Berlioz, Chopin, Brahms, Wagner, Verdi, Tchaikovsky, and Mahler. Written essays and oral presentations are based on live performances as well as listening and reading assignments.

This is an intermediate workshop designed for students who have a basic understanding of the principles of theatrical design and who want a more intensive study of costume design and the psychology of clothing. Students develop designs that emerge through a process of character analysis, based on the script and directorial concept. Period research, design, and rendering skills are fostered through practical exercises. Instruction in basic costume construction, including drafting and draping, provide tools for students to produce final projects.

Welcome to the band here at NDSCS! We are going to have a lot of fun, making music, and getting better and better each time we meet. Whether this is the first time you’ve ever played in a band, or you’ve been playing for years; whether you were your high school’s top chair player or you struggled to get through a B♭ concert scale, there is a place for you here.

Textbook for undergraduate brass methods course focusing on brass instrument techniques and pedagogy.

Call and response has an important history in traditional West African music, especially in spiritual music and protest movements. Although the specific expression of this practice varies across the diaspora depending on the geographic location and musical lineage of practitioners, there are striking similarities in seemingly disparate locations, like the southern United States, Cuba, and northern Brazil. The preservation of call and response practices within these locations (and many others) suggests the importance of collectivity when healing from systemic oppression.

With this interest in mind, David Diaz invites students to join into this call and response by listening to and producing sounds and/or movements as they are comfortable. In joining a collective, there is also space for individuality, and even dissonance. In that interest, students can recognize the shared histories and practices that the music reveals, as well as the particularities of specific cultures and historical actors.

This new annotated guide (part of a series devoted to resources for enjoying or teaching astronomy) features over 250 pieces of music inspired by serious astronomy, including both classical and popular music examples. YouTube links are given for the vast majority, so you (or your students) can listen to them.

Among the pieces included is:
1) a Hubble Space Telescope cantata,
2) eight rock songs about black holes with reasonable science,
3) a supernova piano sonata,
4) a musical exploration of the Messier catalog of nebulae, clusters, and galaxies,
5) a moving song about Stephen Hawking,
6) Moon songs by the Grateful Dead, George Harrison, and the Police,
7) piano pieces “for children with small hands” named after the constellations,
8) operas about Galileo, Kepler, and Einstein,
and many more.

Diversity in theatre has come a long way, and it has a long way to go. This industry has been dominated for far too long by one sector of the population and other stories have not been told. This project encourages the students to tell their stories from their varied and unique backgrounds and share that with their classmates and community. Playwriting is a unique way to tell a story, and this is an avenue that many may not have considered. This project will broaden the scope of the students view on theatre and encourage them to step up and make their voice heard.

A free, open-source collection of discussion prompts and assignments intended to pair with Part I of Russell Sharman's textbook Moving Pictures: An Introduction to Cinema. Attributions: Moving Pictures: An Introduction to Cinema by Russell Sharman is licensed under CC BY-NC-SA 4.0.

This course provides an introduction to the major popular music cultures of the Chinese-speaking world. We will consider a wide variety of genres, from Shanghainese shidaiqu to Cantopop to Taiwanese rap, with the goal of listening beyond the notion of a monolithic "Chinese popular music" to something more dynamic, multivocal, and translocal. We will ask: What, if anything, is so "Chinese" about Chinese popular music? How does popular music participate in the formation of identities for artists and audiences in these areas? How does it enable the articulation of diverging social and political values while also facilitating meaningful connections among disparate communities? We will approach these questions through a diverse array of source materials, including sound recordings, music videos, films, and online multimedia.

This class explores composition and arrangement for the large jazz ensemble from 1920s foundations to current postmodern practice. Consideration given to a variety of styles and to the interaction of improvisation and composition. Study of works by Basie, Ellington, Evans, Gillespie, Golson, Mingus, Morris, Nelson, Williams, and others. Open rehearsals, workshops, and performances of student compositions by the MIT Festival Jazz Ensemble and the Aardvark Jazz Orchestra.

This class explores sound and what can be done with it. Sources are recorded from students' surroundings - sampled and electronically generated (both analog and digital). Assignments include composing with the sampled sounds, feedback, and noise, using digital signal processing (DSP), convolution, algorithms, and simple mixing. The class focuses on sonic and compositional aspects rather than technology, math, or acoustics, though these are examined in varying detail. Students complete weekly composition and listening assignments; material for the latter is drawn from sound art, experimental electronica, conventional and non-conventional classical electronic works, popular music, and previous students' compositions.

This OER presents an integrated suite of learning resources developed for the core music theory and musicianship curriculum at the University of Northern Iowa School of Music. It provides a more comprehensive symbiosis of musicianship and music theory learning than can be found in existing textbooks, including engaging and progressive video demonstrations and interactive listening and vocal exercises that integrate musical knowledge with foundational musical skills. This OER affords the flexibility to shape core musicianship and music theory learning to meet the needs of changing School of Music demographics well into the future, a resource for innovative and inviting music programs accessible to all.

This YouTube channel hosts a series of short (about 15 min) talks and performances for the Pavlov/Tertis Project, which explores connections between music and psychology. The talks were written and delivered by Michael Domjan, Professor of Psychology at the University of Texas, who is an internationally recognized expert in conditioning and learning. Dr. Domjan also received training as a violist in the preparatory division of the Juilliard School of Music. In this series of videos, he combines his knowledge of psychology with his knowledge of music. Topics include How is psychology relevant to music, Neuroscience and music, Habituation and sensitization in the music of J. S. Bach, Types of memory in musical performance, Why is it harder to teach playing the violin. than playing baseball, What is a Tertis viola?, How is Pavlovian conditioning relevant to music?, Talent vs practice in musical expertise, Why is it important to practice a musical instrument, and What I learned in a music conservatory that made me a better scientist.

This class provides an overview of some of the techniques used in creating costume pieces that are crafted rather than sewn. We will use a variety of materials and techniques to create specific costume pieces while at the same time exploring alternative applications possible for each material/technique.

Textbook for music appreciation courses, written by Dr. Karen Marston, Mt San Antonio College, Walnut, CA.

This course examines cultural performances of Asia, including both traditional and contemporary forms, in a variety of genres. Students will explore the communicative power of performances with attention to the ways performers, media, cultural settings, and audiences interact. The representation of cultural difference is considered and how it is altered through processes of globalization. Performances are viewed live when possible, but the course also relies on video, audio, and online materials as necessary. There are no prerequisites for this course and it is taught in English.

This module has been created by Dr. Carly Johnson, Chair of the Department of Music at Alabama State University, to supplement commercial textbooks available for college-level conducting courses.  The culturally diverse images, musical scores, and videos featured in the module provide more inclusive content, representative of students from historically marginalized groups, and aid in deconstructing racial, ethnic, and gender biases often associated with the study of Western art music and with holding leadership positions in music.  The module begins with reflective questioning, identifying and examining equity barriers in Western art music, and ends with pathway resources for underrepresented students to pursue additional study beyond the conclusion of the course. Included in this module are several activities and assessments that can be used in a variety of ways, suitable for both in-person teaching or for synchronous or asynchronous online instruction.

This course introduces students to the art and formal ideologies of contemporary dance. We explore the aesthetic and technical underpinnings of contemporary dance composition. Basic compositional techniques are discussed and practiced, with an emphasis on principles such as weight, space, time, effort, and shape. Principles of musicality are considered and developed by each student. Working with each other as the raw material of the dance, students develop short compositions that reveal their understanding of basic techniques. Hopefully, students come to understand a range of compositional possibilities available to artists who work with the medium of the human body.

Oftentimes, when we engage with the framework of decolonization, it comes from a very specific theoretical strand within the academy and does not include or interconnect with the lives of Indigenous Peoples, especially those who have survived and continue to survive genocide. This OER engages with the idea of decolonization through a short narrative that highlights a conversation from a grandchild and their grandmother. The story does not adhere to a linear format of time, yet goes back and forth between the past and present, an almost cyclical reflections as one plans and figures out their future. The work of decolonization requires an entire epistemological, ontological, axiological, and methodological shift internally and externally. This is simply the beginning of a lifetime commitment.

Glossary
ahéhee’ – thank you
k’ad – phrase used to end a conversation or start a new one
kinaaldá – women becoming ceremony
nahjee’ – phrase used for expressing that I’m finished and/or go away.
shídeezhí – my little sister
shimásaní – my grandma
shiyazhí – my little one
yadilah – phrase used in frustration

References
Smith, L. T. (2012). Decolonizing methodologies: Research and Indigenous peoples. Zed Books.
Tuck, E., & Yang, K. (2012). Decolonization is not a metaphor. Decolonization: Indigeneity, Education, & Society, 1(1), 1-40.

This course will examine theory of scenic design as currently practiced, as well as historical traditions for use of performance space and audience/performer engagement. Four play scripts and one opera or dance theater piece will be designed after in-depth analysis; emphasis will be on the social, political and cultural milieu at the time of their creation, and now.

The goal of this class is practical: to interrogate, make explicit, and thus to develop the powerful musical intuitions that are at work as you make sense of the music all around you. Reflecting, we will ask how this knowledge develops in ordinary and extraordinary ways.

Classical - Neoclassical Forms

Word Count: 140348

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Classical - Neoclassical Forms

Word Count: 161902

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Devised theatre is a method of theatre-making in which the script or (if it is a predominantly physical work) performance score originates from collaborative, often improvisatory work by a performing ensemble. The ensemble is typically made up of actors, but other categories of theatre practitioner may also be central to this process of generative collaboration, such as visual artists, composers, and choreographers; indeed, in many instances, the contributions of collaborating artists may transcend professional specialization.

Renewable Assignment Overview:  students will receive guidance in designing and creating a digital media press kit to publicize their senior capstone recitals.  The guided feedback received during the process of assembling their digital media press kit will allow students to develop a professional-quality electronic portfolio that will be able to be used not only to promote the senior capstone recital, but also for the promotion of professional performances and engagements after graduation from the University.

Please view this book as a source of knowledge but know that every director you meet both good and bad you will learn from. Your journey is never over and the goal of any artist should be to take the lessons of the past, learn from your own experience, and transform your understanding into a unique approach that will change the future of the artform. This is my gift to you as you are the future. Best of luck on your journey.

Études culturelles africaines

Short Description:
Comment lire et comprendre les pratiques culturelles africaines? Comment mobiliser les savoirs sur l’Afrique, ses arts et ses cultures sans verser dans la réification ou le folklorisme? Profondément novateur, cet ouvrage collectif mobilise les outils théoriques des cultural studies pour proposer un généreux panorama de l’étude de la culture en Afrique. Il rassemble des textes d’auteurs et d’autrices d’Afrique de l'Ouest, théoriques ou descriptifs, qui mettent en lumière la réévaluation passionnante des modes d’appréhension des pratiques et objets en contexte africain que proposent les études culturelles africaines. L’épilogue qui clôt le livre n’est donc point fermeture, mais plutôt ouverture sur les enjeux relatifs à ce nouveau champ d’études, plein de promesses pour rendre compte de l’extraordinaire créativité des cultures africaines.

Long Description:
Comment lire et comprendre les pratiques culturelles africaines? Comment mobiliser les savoirs sur l’Afrique, ses arts et ses cultures sans verser dans la réification ou le folklorisme? Profondément novateur, cet ouvrage collectif mobilise les outils théoriques des cultural studies pour proposer un généreux panorama de l’étude de la culture en Afrique. Il rassemble des textes d’auteurs et d’autrices d’Afrique de l’ouest, théoriques ou descriptifs, qui mettent en lumière la réévaluation passionnante des modes d’appréhension des pratiques et objets en contexte africain que proposent les études culturelles africaines. L’épilogue qui clôt le livre n’est donc point fermeture, mais plutôt ouverture sur les enjeux relatifs à ce nouveau champ d’études, plein de promesses pour rendre compte de l’extraordinaire créativité des cultures africaines.

Word Count: 78460

ISBN: 978-2-924661-82-6

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This course examines European music from the early Middle Ages until the end of the Renaissance. It includes a chronological survey and intensive study of three topics: chant and its development, music in Italy 1340-1420, and music in Elizabethan England. Instruction focuses on methods and pitfalls in studying music of the distant past. Students' papers, problem sets, and presentations explore lives, genres, and works in depth. Works are studied in facsimile of original notation, and from original manuscripts at MIT, where possible.

Word Count: 87381

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Shakespeare "doth bestride the narrow world" of the English Renaissance "like a colossus," leaving his contemporaries "walk under his large legs and peep about" to find themselves in "dishonourable graves." This course aims in part to correct this grave injustice by surveying the extraordinary output of playwrights whose names have largely been eclipsed by their more luminous compatriot: Marlowe, Jonson, Webster, and Ford, among others. Reading Shakespeare as just one of a group of practitioners -- many of whom were more popular than him during and even after his remarkable career -- will restore, I hope, a sense not just of the richness of English Renaissance drama, but also that of the historical and cultural moment of the English Renaissance itself. This course will examine the relationship between theatre and society through the lens of the drama produced in response to these changes. However, we will not try to map the progress of drama directly onto the social world, as if the former can simply read off the latter. Rather, focusing on discrete issues and problems, we will try to understand the ways in which a particular text not only reflects but responds to and shapes aspects of the culture from which it derives, developing an aesthetic that actively engages its world. The topics addressed over the course of the semester will be wide-ranging but will include: gender and class dynamics in Renaissance society; money, trade, and colonialism; the body as metaphor and theatrical "object"; allegory and aesthetic form; theatricality and meta-theatricality; the private and the public.

Exploring the American Dream: "A Raisin in the Sun" by Lorraine Hansberry.The American Dream means different things to different people. By viewing Hansberry's work, "A Raisin in the Sun", students will have the opportunity to identify the different dreams held by the characters in the play and how they are both similar and different.Reflect on the play and fill in the response sheet regarding each character's "dream." Please use full sentences and proper grammar. There is no minimum word count.

This text explores the visual and performing arts (art, music, dance, theatre).
Chapter 1: Elements, Vocabulary, and Iconography of Visual Art
Chapter 2: Mediums in Visual Art
Chapter 3: Ancient Arts (Prehistoric, Ancient Near East, Egyptian)
Chapter 4: Classical Period to Middle Ages
Chapter 5: Renaissance to Realism
Chapter 6: Impressionism to Modern
Chapter 7: An Introduction to the Theater and its Elements
Chapter 8: The Greek Origins of Western Theater
Chapter 9: Technical Theater
Chapter 10: The Actor's Craft
Chapter 11: Other Theater Traditions
Chapter 12: Introduction to Music
Chapter 13: Music in the Middle Ages and the Renaissance
Chapter 14: Baroque and Classical Music
Chapter 15: Music of the Romantic Era
Chapter 16: Music of the 20th Century
Chapter 17: Introduction to Dance
Chapter 18: Elements of Dance
Chapter 19: Dance History and Styles

"Focus on 'Henry V'" is a peer-reviewed, multimedia, digital Open Educational Resource co-authored and co-produced by faculty, graduate students, and undergraduates on the innovative digital publishing platform Scalar. Chapters include guides to early printed editions, sources, and performance and cinematic histories of the play, as well as teaching resources and in-depth case-studies of particular scenes. All chapters include rich multimedia and audio recordings of body text and image captions. In addition to a traditional Table of Contents, the digital book allows users to navigate the materials through multiple pathways and visualizations. In this way the book offers not only a cutting-edge, renewable OER for college and K-12 teachers but also a model for maximizing the affordances of the digital medium.

Introductory Materials for a group beginning guitar class.

-How to sit and hold the guitar
-General Right Hand and Left Hand positioning

In the sections of Chapter 1, we’ve included interactive learning content to test your knowledge over Theater history and production, with many knowledge checks over Theatrical Worlds, Edited by Charles Mitchell, as well as Playhouse Square theaters and productions, and other theater content. This content can be used by Theater students anywhere in the world, but will be helpful to those reading Theatrical Worlds.

In Chapter 2, there are analyses of local live performance, written by CSU Theater students and Heather Caprette. They serve as examples of exemplary work for the open assignment 2, as well as provide information about performances of interest to the public theater goers. * A Note of Caution: These analyses can not be copied by other Theater students to satisfy the requirement for an assignment in a course, but will give an idea of what a well written analysis paper looks like. Copying of these assignments to turn in as your own assignment constitutes plagiarism and academic misconduct.

Chapter 3, is an example of how a group of students working together on the recreation of a scene or small part of a play can share their ideas. The part should be less than 10% of a play. The example is being produced by Heather Caprette, MFA, but in the assignment, different students would work on various aspects of the theater production. Elements recreated include: dialogue, character design, set design, stage lighting, costume design, and sound design.

At this time, it’s best to view the Pressbook in Chrome browser, due to some display issues caused by a recent upgrade.

This is a text by Dr. Christine Gengaro to be used primarily for film music appreciation courses. Some of the materials are applicable to music appreciation, cinema studies, film studies, music history, musicology, and media studies. It attempts to provide a methodology for studying and analyzing film music without requiring the specific study of a particular set of films. It is appropriate for those with musical backgrounds and those who simply love film music. Suggestions are made in the instructor materials for assignments and assessments that empower students to analyze films in multiple ways, drawing upon cultural context, emotional viewing experience, historical milieu, among other lenses.

This guide compiles starting points for OER and freely available resources for interdisciplinary Film Studies courses and topics. This OER subject guide was created for TCC faculty and staff and reflects TCC credit, continuing education, and corrections course offerings. The purpose of this guide is to help faculty and staff more easily find and review OER in their areas so that they can make decisions about quality, accuracy, relevancy, and potential use.

A presentation with definitions and examples of different film techniques and how students can analyze them.

FYS 207 Dancing Drones

COURSE DESCRIPTION & PREREQUISITES Seminars focus on topics of general interest while developing key academic foundations (reading, information literacy, creative and critical thinking, technological literacy, and either writing or quantitative literacy). Quantitative-focused seminars integrate assignments that require the use and understanding of quantitative information/evidence.

This course will explore the parallels between dance and coding and will culminate in creating an electronic dance using basic tools from dance choreography, eDance costumes, and basic coding skills. No previous dance or coding experience is needed.

COURSE GOALS: FYS 207: ILLUMINATING THE CODE OF DANCE

Students will convert relevant information into various mathematical forms
Students will solve a problem (creating an illuminated dance) using strategies across the disciplines of dance and computer science
Students will put into practice knowledge of coding, iteration and abstraction and will be expressing themselves through choreography and dance.

Sight reading music can be a daunting endeavor for aspiring, and even experienced, musicians. Foundational Sight Singing was created to provide a systematic approach to learn to read, hear and perform music. The ordered presentation of both melodies and rhythms in this text helps students develop accuracy and fluency in sight singing which is a fundamental skill for all musicians. It is a text for developing proficiency in reading and sight singing that can be used in a variety of contexts from individual practice to choral or instrumental ensemble rehearsals to college ear training courses. Multiple exercises are provided for drilling and practice at each level throughout the text to grow the students’ fluency and proficiency in reading and performing pitch and rhythm. This text will help students build a solid foundation upon which they can establish mastery.

The goals of this class are two-fold: the first is to experience the creative processes and storytelling behind several of theater's arts and to acquire the analytical skills necessary in assessing the meaning they transmit when they come together in production. Secondly, we will introduce you to these languages in a creative way by giving you hands-on experience in each. To that end, several Visiting Artists and MIT faculty in Theater Arts will guest lecture, lead workshops, and give you practical instruction in their individual art forms.

This class introduces students to the rudiments of Western music through oral, aural, and written practice utilizing rhythm, melody, intervals, scales, chords, and musical notation. The approach is based upon the inclusive Kodály philosophy of music education. Individual skills are addressed through a variety of means, emphasizing singing and keyboard practice in the required piano labs.

This open e-book is the result of a project funded by a University of Edinburgh Student Experience Grant, Open e-Textbooks for access to music education. The project was a collaboration between Open Educational Resources Service, and staff and student interns from the Reid School of Music. As a proof-of-concept endeavour, the project aimed to explore how effectively we could convert existing course content into convenient and reusable open formats suitable for use by staff and students both within and beyond the University. The resulting e-book presents open licensed educational materials that deal with the building blocks of musical stave (sometimes known as staff) notation, a language designed to communicate about musical ideas which is in use around the world. The resources in this e-book include video lectures and their transcripts, as well as supporting text explanations, examples and illustrations. The materials introduce topics such as the organisation of discrete pitches into scales and intervals, and temporal organisation of musical sounds as duration, in rhythm and metre. These rudiments are presented through an introduction to the elements of five-line stave notation, and through critical discussion of the advantages and limitations served by notational systems in the representation and analysis of musical sounds. This serves as the basis of further explanations, to illustrate musical concepts including key, time signature, harmonisation, cadence and modulation. We anticipate that subsequent versions of this e-book will update and develop the contents and presentation of the materials, following the success of this student-led collaboration.

Word Count: 175811

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This course examines contemporary and historical cultural production on and from Africa across a range of registers, including literary, musical and visual arts, material culture, and science and technology. It employs key theoretical concepts from anthropology and social theory to analyze these forms and phenomena. It also uses case studies to consider how Africa articulates its place in, and relationship to, the world through creative practices. Discussion topics are largely drawn from Francophone and sub-Saharan Africa, but also from throughout the continent and the African diaspora.

This collection uses primary sources to explore the golden age of musical theatre on Broadway. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

In this subject we will study the basic harmonic, melodic, and formal practices of western music, principally the classical music of central Europe during the eighteenth century. Topics will include diatonic harmony, simple counterpoint in two parts, and tones of figuration. The coursework will combine composition, listening, analysis, and work in sight-singing and keyboard musicianship.

In this subject, we explore the harmonic, melodic, and formal practices of western music, principally the so-called "Classical" idiom of central Europe, ca. 1750-1825. Topics include a quick review of material covered in 21M.301, chromatic harmony (vii, bII, and chords of the augmented sixth), and chromatic modulation; lecture study and discussion are complemented by work in the keyboard laboratory and sight-singing laboratory. All areas of study will be integrated in a semester-long project of composing a theme and two variations in Classical style.

This class explores the political and aesthetic foundations of hip hop. Students trace the musical, corporeal, visual, spoken word, and literary manifestations of hip hop over its 30 year presence in the American cultural imagery. Students also investigate specific black cultural practices that have given rise to its various idioms. Students create material culture related to each thematic section of the course. Scheduled work in performance studio helps students understand how hip hop is created and assessed.

A history of popular music in the United States from the 1930's to early 2000's - A text in 7 modules with links to selected representative recordings and performances.

David Henry Hwang's play, "Yellow Face", provides his perspective on theatre. The play is available for viewing for free on YouTube. This assignment are short essay questions created to allow the students to think deeply on Hwang's purpose for writing this play and the importance it holds in theatre.

This is a Humanitites Moment I experienced and wanted to share with others! It's all about being passionate and the power and impact of ballet. 

The following recipes, or games, are intended to be used as reference and study for the college course: Improvisation. This format has been set up to help with ease of quick learning and immediate application. Bon Appétit!

Upon successful completion of this course, students will be able to:
Identify Improvisational genres. Perform numerous and varying Improv games. Plan and Execute an Improv show. Evaluate performance. Examine and analyze aspects of the human experience and quickly construct an expression of that experience.

The history of Indigenous Peoples within the US Empire is a tale of both violence and survivance, which can be difficult to engage and work through for many. This OER uses the process of a body scan, a mindfulness technique, to really get folks comfortable with their body and notice what is happening internally while using poetry as a medium to talk about the history of the Diné, or the Navajo, my community. Yet, this violence is not only unique to many Indigenous communities, but is something that many other marginalized communities have something in common as we all survive and navigate systems of exploitation and oppression in a world that denies us love and freedom. This OER ends with a reminder of how beautiful, brilliant and powerful we are and that our stories of resistance need to be shared and celebrated.

This course explores audio synthesis, musical structure, human computer interaction (HCI), and visual presentation for the creation of interactive musical experiences. Topics include audio synthesis; mixing and looping; MIDI sequencing; generative composition; motion sensors; music games; and graphics for UI, visualization, and aesthetics. Weekly programming assignments in python are included. Student teams build an original, dynamic, and engaging interactive music system for their final project.

This course is an interdisciplinary exploration of three broad topics concerning music in relation to time.

Music as Architecture: the creation of musical shapes in time;
Music as Memory: how musical understanding depends upon memory and reminiscence, with attention to analysis of musical structures; and
Time as the Substance of Music: how different disciplines such as philosophy and neuroscience view the temporal dimension of musical processes and/or performances.

Classroom discussion of these topics is complemented by three weekend concerts with pre-concert forums, jointly presented by the Boston Chamber Music Society (BCMS) and MIT Music & Theater Arts.

This course examines the production, transmission, preservation and qualities of folk music in the British Isles and North America from the 18th century to the folk revival of the 1960s and the present. There is a special emphasis on balladry, fiddle styles, and African-American influences. The class sings ballads and folk songs from the Child and Lomax collections as well as other sources as we examine them from literary, historical, and musical points of view. Readings supply critical and background materials from a number of sources. Visitors and films bring additional perspectives.

This course is a study of the history of theater art and practice from its origins to the modern period, including its roles in non-western cultures. Special attention is given to the relationship between the literary and performative dimensions of drama, and the relationship between drama and its cultural context.

Drama combines the literary arts of storytelling and poetry with the world of live performance. As a form of ritual as well as entertainment, drama has served to unite communities and challenge social norms, to vitalize and disturb its audiences. In order to understand this rich art form more fully, we will study and discuss a sampling of plays that exemplify different kinds of dramatic structure; class members will also participate in, attend, and review dramatic performances.

Syllabus with listening links for Introduction to Jazz History course that uses a library ebook as primary textbook: Ted Gioia, The History of Jazz, 2nd ed. (New York: Oxford, 2011). Covers the 90-year history of jazz, a truly American art form. Examines and analyzes eras, styles, and significant artists.

Upon successful completion students should be able to:

Understand that the study of jazz involves an analysis of what motivates humans to create and how their creations reflect their values and world views
Experience jazz music “dynamically,” that is, to appreciate simultaneously the uniqueness of a work, its origins and precedent, its potential as an inspiration and influence on later music and its relationship to a particular cultural moment
Critically examine the impact of jazz on social interaction so as to encourage sensitivity and empathy toward people with different values or beliefs.

Course syllabus for MUS 180: Introduction to Library Research MethodsThe purpose of this course is to orient you to music research, for academic and professional purposes. You will also receive an introduction to writing about music including citing using the 17th edition of the Chicago Manual of Style, and writing program notes. Course content will focus on using library resources including physical and digital collections. Contact the course instructor (Carolyn Doi, Music Librarian, carolyn.doi@usask.ca with any questions or concerns throughout the course. 

Through a progressive series of composition projects, students investigate the sonic organization of musical works and performances, focusing on fundamental questions of unity and variety. Aesthetic issues are considered in the pragmatic context of the instructions that composers provide to achieve a desired musical result, whether these instructions are notated in prose, as graphic images, or in symbolic notation. No formal training is required. Weekly listening, reading, and composition assignments draw on a broad range of musical styles and intellectual traditions, from various cultures and historical periods.

This series is one part of UC Irvine's Musicianship 15 ABC sequence for music majors. An understanding of music notation and basic musical terms is helpful but not required for these presentations. The math involved is basic.

Offered in the spring and fall terms, Introduction to Stagecraft is a hands-on course that gets students working with the tools and techniques of theatrical production in a practical way. It is not a design course but one devoted to artisanship. Among the many remarkable final projects that have been proposed and presented at the end of the course have been a Renaissance hourglass blown in the MIT glass shop and set into a frame turned on our set shop lathe; a four harness loom built by a student who then wove cloth on it; a number of chain mail tunics and coifs; a wide variety of costume and furniture pieces and electrified period lighting fixtures.

An Introduction to Technical Theatre draws on the author’s experience in both the theatre and the classroom over the last 30 years. Intended as a resource for both secondary and post-secondary theatre courses, this text provides a comprehensive overview of technical theatre, including terminology and general practices. Introduction to Technical Theatre’s accessible format is ideal for students at all levels, including those studying technical theatre as an elective part of their education.

This course gives a broad overview of Western music from the Middle Ages to the 20th century, with emphasis on late baroque, classical, romantic, and modernist styles (1700-1910). It is also meant to enhance students' musical experience by developing listening skills and an understanding of diverse forms and genres. Major composers and their works will be placed in social and cultural contexts. Weekly lectures feature demonstrations by professional performers, and introduce topics to be discussed in sections. The focus of the course is on the weekly listening and reading assignments.

This course is an introduction to diverse musical traditions of the world. Music from a wide range of geographical areas is studied in terms of structure, performance practice, social use, aesthetics, and cross-cultural contact. Course work includes hands-on music making, live demonstrations by guest artists, and ethnographic research projects.

This course explores the ways that music is both shaped by and gives shape to the cultural settings in which it is performed, through studying selected musical traditions from around the world. Specific case studies will be examined closely through listening, analysis, and hands-on instruction. The syllabus centers around weekly listening assignments and readings from a textbook with CDs, supplemented by hands-on workshops, lecture/demonstrations and concerts by master musicians from around the world.

This course is an introduction to Islam from the perspective of media and sound studies, intended for advanced undergraduates and graduate students. From the time of the Prophet Muhammad, Islam in its various manifestations has had a complex relationship with media. While much contemporary writing focuses on Islam in the media, this course explores how many aspects of Islamic practice and thinking might be understood as media technologies that facilitate the inscription, storage and transmission of knowledge. Central questions include: How do Islam and media technologies relate? What kinds of practices of inscription and transmission characterize Islam in all its varieties across time and place? How might Islamic thought and practice be understood in light of databases, networks, and audiovisual sensation? Given the rich diversity in Islam historically and geographically, emphasis will be placed on these interconnected but divergent practices from the earliest revelations of the Qur'an to contemporary Islamist political movements, with geographies spanning from Indonesia to the Middle East and North Africa, as well as in Europe and North America. In addition to exploring these themes through reading and writing, students will be encouraged to complete course assignments and projects in media, using audiovisual documentary or composition as a means of responding to the course themes.

This collection uses primary sources to explore the cultural impact of swing dancing. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

                The String Ensemble set out to find an under represented BIPOC/female composer and work that we could record and revitalize/rearrange. After sifting through project composers and works, we settled on Joseph Bolonge Le Chevalier de St. Georges, a BIPOC and underrepresented composer and his work, String Quartet No. 2, Op. 1. Prior to our project, the work was offered with no overall score and just manuscript individual parts that were somewhat difficult to read. In addition, the string virtuoso composer had some much influence on Mozart, Haydn, and the creation of the classical music genre of the sinfonia concertante. Yet, I had never even heard of his existence or influence which music textbooks do not give Joseph Bologne the proper credit to sinfonia concertante. Therefore, we wanted to bring justice to a neglected composer and work so that others could hear his work and make his work more accessible to perform. https://youtu.be/9HEEawfBN80

Short Description:
This is a dramaturgical casebook on La France Sauvée, an unfinished play by Olympe de Gouges, translated by Clarissa Palmer, with contextual information on the French Revolution.

Long Description:
This digital humanities project is a digital dramaturgical casebook for the play, La France Sauvée, ou le Tyran détrôné (France Preserved, or the Tyrant Dethroned, 1792). The dramaturgical casebook includes a master copy of the script as well as historical research pertaining to the playwright, cast members, timeline, places, costume and set design, and bibliography.

Word Count: 23888

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Word Count: 108308

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)