Bring the vocabulary of film to life through the processes of filmmaking. Students learn terminology and techniques simultaneously as they plan, film, and edit a short video.
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Acoustics (from Greek ακουστικός pronounced akoustikos meaning "of or for hearing, ready to hear") is the science that studies sound, in particular its production, transmission, and effects. The science of acoustics has many applications which are dependent upon the nature of the sound that is to be produced, transmitted or controlled.
During World War Two, a fierce battle between American and Japanese forces on Kwajalein atoll left a trail of debris on the deep lagoon floor. This lagoon now has one of the largest collections of well-preserved aircraft in the world. In this video, as part of the first ever film crew allowed onto this secret military base, Jonathan explores a B-25, F4-U Corsair and Dauntless dive bomber still sitting on the bottom of the ocean, as if ready to take off. Please see the accompanying study guide for educational objectives and discussion points.
Interviews with speakers of German-American and American English dialects from across the United States, complemented by rare recordings of ethnic music from the Mills Music Library, as well as a number of maps, short interpretive essays, and visual images. English translations and notes on aspects of linguistic and historical interest accompany the excerpted recordings.
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.
Guitarist Dale Williams studied blues guitar with Willie Dixon and Phil Upchurch, but doesn't limit himself to the blues. He has performed and recorded with such artists as Sun Ra, George Lewis and LL Cool J. He teaches and lectures, in addition to performing. (24 minutes)
Musician, singer, songwriter, arranger and producer Patrice Rushen has a vast array of recordings to her name, and in recent years has been musical director for the Emmy and NAACP Awards, and for Janet Jackson's 1994 world tour. (29 minutes)
Join me for a hands-on ride through the fundamentals of electronics and acoustics and the process of loudspeaker design and construction. We will learn about the engineering and art involved throughout music/movie recording and playback, the design and application of everything from microphones to DACs, amplifiers, and speakers. With the aid of computer assisted audio measuring equipment at the MIT Edgerton Center, we will analyze the frequency response and distortion of speaker drivers, and understand their effect on what we hear. Then we design our own speakersÄdriver selection, crossover networks, and enclosure designÄand build them in class!
On this webpage you will find OER Music textbooks along with supplemental materials and a few lecture videos.
The purpose of these discipline-specific pages is to display content that might be of interest to faculty who are considering adopting open educational resources for use in their classes. This list of content is by no means exhaustive. The nature of open educational resources is very collaborative and it is in that spirit that we encourage any comments about the content featured on this page or recommendations of content that are not already listed here.
This module represents information regarding making choral department purchases including music and larger purchases such as choral risers, recording equipment, etc. Directors must stay involved in the purchasing process to insure that the best product is purchased.
Students create different versions of a known song and listen to contrasting recordings for musical differences and similarities.
"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. ĺĘ"
A series of progressive composition projects, culminating in a large final projecting, using various types of music hardware and software. Instruction in recording, editing, synthesis, sampling, digital sound processing, sequencing, and interactive systems. Close listening to computer and electronic music from various genres including Varese, Cage, Schaeffer, Xenakis, Lansky, Stockhausen, Tcherepnin, Barlow, Gunter, and Eno. Subject focuses on using the computer as a means of musical creativity and intuition.
Conversations host Harry Kreisler welcomes documentary filmmaker Martin Smith for a discussion of his work. (53 min)
Host Harry Kreisler speaks with Tariq Ali, a British-Pakistani journalist, novelist, playwright, publisher, filmmaker, and renowned social critic about Islam, empire, and the left. (57 min)
This course seeks to develop a nuanced understanding of the scope of cultural and literary expression in the late 19th and the first half of the 20th centuries. It attends to broad socio-historical happenings, from the birth of modernism in the late 19th century to the post-modern moment. In addition to literary modernism, the course will also take a brief look at the cultural production of modernism in art, music, architecture, cinema, philosophy, and drama. Upon completion of this course, students will be able to: Define the terms modernism and modernity and explain the similarities and differences between these terms using specific works to illustrate comparison and contrast; List and explain the importance of a variety of social, cultural, and historical developments leading up to and occurring during the modern period; Cite and analyze the meaning of primary works of literature, poetry, art, music, architecture, cinema, philosophy and drama to illustrate the principle characteristics of modernism; Compare and contrast the literatures of both France and England from the start of the modern era (i.e., the turn of the twentieth century); Explain the impact of the Great War upon the development and expression of a variety of literary and artistic forms and especially on poetry in a number of genres; Describe the aftermath of World War I and its variety of effects upon literature and art and especially upon the poetry of T.S. Eliot and the novels of Virginia Woolf and Ernest Hemingway; Define High Modernism and give examples of the tenets, ideals, and even the contradictions and self-contradictions of this movement in history and literature (and especially in both its Irish and British contexts); Define the terms postmodernism and deconstruction as well as the phrase Magical Realism and identify the most important characteristics of the movements, fields, theories, and texts associated with these terms; Explain the premises of postcolonial literature and literary theory and identify, describe, compare, and contrast postcolonial texts from range of national origins. (English Literature 204)
This module represents a discussion of vowel modification. Usually singers, particularly young singers, tend toward too much brightness in their vowel production. Suggestions are made here to assist in modifying the vowel sounds toward a deeper, richer result.
This video segment, adapted from Decision in the Streets by civil rights filmmaker Harvey Richards, portrays the interracial protests that took place in San Francisco in 1963-64. ***Access to Teacher's Domain content now requires free login to PBS Learning Media.
- Film and Music Production
- U.S. History
- Material Type:
- PBS LearningMedia
- Provider Set:
- PBS Learning Media: Multimedia Resources for the Classroom and Professional Development
- Teachers' Domain
- Birmingham Civil Rights Institute
- Institute of Museum and Library Services
- Washington University in St. Louis
- WGBH Educational Foundation
- Date Added:
Students examine what deepfakes are and consider the deeper civic and ethical implications of deepfake technology. In an age of easy image manipulation, this lesson fosters critical thinking skills that empower students to question how we can mitigate the impact of doctored media content. This lesson plan includes a slide deck and brainstorm sheet for classroom use.
What are the roles of analysis, description and performance in developing musical perception and understanding? How are units of perception different from units of description? Bamberger's text "Developing Musical Intuitions" and the accompanying software "Impromptu" are used as environments for composing melodies and percussion pieces. These, in turn, serve as the basis for students to interrogate their musical intuitions so as to expand and develop them. Term projects involve learning to perform a new composition or an experiment in musical perception, or designing multiple representations for appropriate analysis of a significant work. 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.
This set of course materials includes lecture slides, activity files, images, quizzes, tests, review questions, and project assignments for Digital Media at Georgia Gwinnett College. The course uses open-source applications such as GIMP and InkScape.
Individual chapters are available for download due to the large file sizes. Web-based assignments to supplement these materials are located on the GGC Wiki: All Digital Media Assignments
Topics covered include:
Audio recording is an important component of digital media productions. In this lesson students will make a short recording to learn the basics of Audacity, a free and open-source digital audio editor and recording application software, available for Windows, macOS/OS X and Unix-like operating systems.
Digital stories are multimedia-authoring projects combining texts, images, and audio files into a short film clip (mostly 3-5 minutes). In recent years, digital storytelling has turned college and university classrooms into spaces of creative critical production. Digital stories have proven to be a powerful medium for students to represent a theoretically-informed understanding of texts and contexts in a form other than “traditional” writing. This multimedia archive on digital storytelling provides: A “research section” that addresses questions around digital storytelling and student learning in three major sections: Multimedia Distinctive, Social Pedagogy, Affective Learning; A grid as an alternative, condensed representation of our findings from this project; Video interviews with students and faculty as well as student produced digital stories.
How and why do people seek to capture everyday life on film? What can we learn from such films? This course challenges distinctions commonly made between documentary and ethnographic films to consider how human cultural life is portrayed in both. It considers the interests, which motivate such filmmakers ranging from curiosity about "exotic" people to a concern with capturing "real life" to a desire for advocacy. Students will view documentaries about people both in the U.S. and abroad and will consider such issues as the relationship between film images and "reality," the tensions between art and observation, and the ethical relationship between filmmakers and those they film.
Exploring Movie Construction and Production contains eight chapters of the major areas of film construction and production. The discussion covers theme, genre, narrative structure, character portrayal, story, plot, directing style, cinematography, and editing. Important terminology is defined and types of analysis are discussed and demonstrated. An extended example of how a movie description reflects the setting, narrative structure, or directing style is used throughout the book to illustrate building blocks of each theme. This approach to film instruction and analysis has proved beneficial to increasing students’ learning, while enhancing the creativity and critical thinking of the student.
Aims:to integrate formal and non-formal learning through different subjects (math, science, literacy, art, handicraft, English,music), promoting the use of ICT, integrating students theoretical skills with practical ones, achieving better results in basic subjects, developing the skills of teamwork
This open set of course materials for Film Aesthetics is a downloadable version of a course created for a learning management system. Included are learning modules and a quiz bank based on introductory film concepts including the following topics: Narrative Structure and Motifs, Mise-en-Scene, Cinematography, Sound Design, Music, and Visual Effects.
This module points out the benefits of singing the entire performance, if possible, at a point approximately five rehearsals before the concert. Recording the rehearsal can be helpful to the conductor as a review of the choir's progress.
Students will learn how to produce their own sounds to add to their video projects. This technique is called Foley Art. There are several excellent videos that can be shown during class or assigned as a flipped assignment. Either way, these videos should draw great discussion during class on how to capture homemade produced sounds. Some of the videos I use come from YouTube and are titled "The Magic of Making Sound," "This Artist Creates Sounds for Movies," "How the Sound Effects in 'A Quiet Place' Were Made," "Foley Artists: How Movie Sound effects are Made," and "The Hunger Games & Frozen Foley Artists Turn the Sound of Junk into Miracles--Art of Sound Ep. 3." Simply do a search for Foley Art. After the discussion, students will then select a movie trailer, convert the trailer into a file format that works with their video editing software. Once the file is uploaded into their software, students will remove/detach the audio and begin brainstorming appropriate sound effects and how these can be made for the video. Students should compile a list of at least 10 sound effects. After all students have their lists, divided the students into groups. I find that it is necessary to have more than one person in order to effectively produce the sounds. Once students are in their groups, combine their lists, and come up with 10 sounds they think they can personally produce. Students will need to brainstorm props that can be used to produce their sounds. Once the sounds have been created, each student will then add, trim, and edit the sounds and add to the movie trailer.
After the last day of editing, the students will come back together with their group and show their video to the class. Students should explain how sounds were created.
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 course covers the fundamentals of tonal music theory: pitch notation; rhythm and meter; major and minor scales; intervals; triads and seventh chords, as well as common terms and symbols used in common practice music. By the end of this course students will be able to read pitches in common clefs and will be familiar with note durations and meters. They will also learn to spell and recognize key signatures, major and minor scales, intervals, and triads and will become familiar with the concept of harmonic function and cadence. After completing this course, students will be ready to begin the undergraduate music theory sequence (Theory I-IV).
Introduces students to the basics of musical structure and proficiencies expected of musicians through participation in three integrated hands-on approaches. Lectures introduce students to the basics of music--pitch, rhythm, and its combinations--in a variety of musical settings, including analysis and discussion of students' compositions and of related larger works. Sight-singing lab focuses on developing practical musical skills through oral, aural, and written experiences with rhythms, melodies, intervals, scales, chords, and music notation. Piano lab introduces and continues development of fundamental music skills through keyboard practice.
This is a step-by-step introduction to the music programming language SuperCollider. It is aimed at students with little to no background in programming. Knowledge of basic music theory may be occasionally useful, but it is not required. This book encourages students to actively explore sound and musical structure through computer programming. Music and arts students interested in sound will find the tools to deepen their knowledge of digital music making. The book may also serve as a fun, music-oriented introduction to basic programming to a general audience of college students. SuperCollider is a free, open source software, and it runs on Linux, Windows, and Macintosh computers.
The topic for Fall 2006 is short film and radio plays. This course investigates current trends and topics in German literary, theater, film, television, radio, and other media arts productions. Students analyze media texts in the context of their production, reception, and distribution as well as the public debates initiated by these works. The topic for Fall 2006 is German Short Film, a popular format that represents most recent trends in film production, and German Radio Art, a striving genre that includes experimental radio plays, sound art, and audio installations. Special attention will be given to the representation of German minorities, contrasted by their own artistic expressions reflecting changes in identity and a new political voice. Students have the opportunity to discuss course topics with a writer, filmmaker, and/or media artist from Germany. The course is taught in German.
This kit provides the materials and background information needed to engage students in a dynamic and constructive process of learning how global media perspectives differ based on country of production, media source, target audience, and political and social context. There are five lessons representing important issues and media documents from: Africa (news and documentary film clips about the food crisis), Latin America (editorial cartoons about immigration), Europe (news and documentary film clips about Islam and cultural identity), India (magazine covers about India's rise in the global economy), and Southeast Asia (websites concerning Islamic majorities and minorities).
A continuation of Harmony and Counterpoint I, including chromatic harmony and modulation, a more extensive composition project, keyboard laboratory, and sight-singing laboratory.
Basic writing skills in music of the common-practice period (Bach to Brahms). Work includes regular written assignments leading to the composition of short pieces, analyzing representative works from the literature, keyboard laboratory, and sight-singing choir. It is recommended that entering students have some concert music listening or playing background. Enrollment may be limited.