This course surveys both cinematic and literary representations of diverse eras and aspects of Japanese culture such as the classical era, the samurai age, wartime Japan and the atomic bombings, social change in the postwar period, and the appropriation of foreign cultural themes, with an emphasis on the modern period. Directors include Akira Kurosawa and Hiroshi Teshigahara. Authors include Kobo Abe and Yukio Mishima. Films shown have subtitles in English. Taught in English.

This course covers medieval Japanese society and culture from the twelfth to the nineteenth centuries, when political power rested largely in the hands of feudal warriors. Topics include religion (especially Zen Buddhism); changing concepts of "the way of the warrior;" women under feudalism; popular culture; and protest and rebellion. Presentations include weekly feature films. Assigned readings include many literary writings in translation.

Durch Anklicken des Links finden Sie unten zwei Audiodateien, die unter CC BY-SA 4.0 lizenziert sind:

Audio Version 1 von gschrems © 2018 by Hubert Göritzer, Benedikt Plößnig und Jasmin Wallner von gschrems is licensed under CC BY-SA 4.0

Audio Version 2 von gschrems © 2018 by Hubert Göritzer, Benedikt Plößnig und Jasmin Wallner von gschrems is licensed under CC BY-SA 4.0

The purpose of this course is to learn how to make a short motion picture starting with pre-production. As we walk through all the steps of making this movie, you will prepare yourself for entering film school.

MOOCs and Open Educational Resources: A Handbook for Educators is being made available for university faculty, educators, and educational producers involved in producing online courses. The guide is a step-by-step manual to how to produce and distribute educational video content under the freest of licenses, with an emphasis on Creative Commons. It is hoped that some utility may be found in its pages by all kinds of readers, whether one is a staff videographer or a chaired senior faculty member or a freelance video editor, or in any position around and in between.

With Blues, Jazz, and Soul Music as a foundational backdrop, Memphis has made many other significant contributions to music.  Artists such as Maurice White, (leader/founder of the 70s/80s supergroup Earth, Wind, and Fire), Big Star, and even the most recent Band Camino all call Memphis Home.  These artists along with others continue to push the creative envelope and discover new avenues of expression for Memphis Music.     

Blues and Soul music intersect in Memphis Tennessee.  Southern Soul as it is usually called, originated in Memphis and was greatly influenced by the blues of the city and the Mississippi Delta.  

A Look at Memphis Jazz Piano before James Williams, Donald Brown, and Mulgrew Miller made their significant contributions.  In addition to the great Phineas Newborn jr., Charles Thomas and Harold Mabern also made a tremendous impact.  Live music at local venues provided informal educational opportunities for students of all ages.   

This is a look at some of the more successful jazz pianists from Memphis Tennessee.  Each artist has experienced national and international acclaim as both a pianist and composer.  What's more, they are all comtemporaries having attended the University of Memphis (then Memphis State University)at the same time.  

These materials, created by Dr. Adam Gaines in Summer 2023, feature a syllabus, video lectures, bibliographic references, assignment prompts, discussion questions, and links to library resources, like Ken Burns' film, Jazz.
The topics covered in this course include: Background through 1910s: Jazz Heritage and Early Styles; 1920s Through 1940s: The Jazz Age and The Swing Era; 1950s Through 1980s: Breakthroughs, Fusions and Reexaminations; 1990s Through Today: An Evolving Artform.

This guide compiles starting points for OER and freely available resources for Music 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.

In this course, we will rebuild the everyday sounds of nature, machines, and animals from scratch and encapsulate them in dynamic sound objects which can be embedded into computer games, animations, movies, virtual environments, sound installations, and theatre productions. You will learn how to analyze and model sounds and resynthesize them with the open-source graphical programming environment Pure Data (Pd). Our work will be guided by Andy Farnell's book Designing Sound (MIT Press, 2010). No previous programming experience is required.

The Internet lets us share perfect copies of our work with a worldwide audience at virtually no cost. We take advantage of this revolutionary opportunity when we make our work “open access”: digital, online, free of charge, and free of most copyright and licensing restrictions. Open access is made possible by the Internet and copyright-holder consent, and many authors, musicians, filmmakers, and other creators who depend on royalties are understandably unwilling to give their consent. But for 350 years, scholars have written peer-reviewed journal articles for impact, not for money, and are free to consent to open access without losing revenue.

In this concise introduction, Peter Suber tells us what open access is and isn’t, how it benefits authors and readers of research, how we pay for it, how it avoids copyright problems, how it has moved from the periphery to the mainstream, and what its future may hold. Distilling a decade of Suber’s influential writing and thinking about open access, this is the indispensable book on the subject for researchers, librarians, administrators, funders, publishers, and policy makers.

The Internet lets us share perfect copies of our work with a worldwide audience at virtually no cost. We take advantage of this revolutionary opportunity when we make our work “open access”: digital, online, free of charge, and free of most copyright and licensing restrictions. Open access is made possible by the Internet and copyright-holder consent, and many authors, musicians, filmmakers, and other creators who depend on royalties are understandably unwilling to give their consent. But for 350 years, scholars have written peer-reviewed journal articles for impact, not for money, and are free to consent to open access without losing revenue.

In this concise introduction, Peter Suber tells us what open access is and isn’t, how it benefits authors and readers of research, how we pay for it, how it avoids copyright problems, how it has moved from the periphery to the mainstream, and what its future may hold. Distilling a decade of Suber’s influential writing and thinking about open access, this is the indispensable book on the subject for researchers, librarians, administrators, funders, publishers, and policy makers.

The Open Guitar Building Project—a part of ETSU’s Guitar Building project—is a repository of open source designs for teachers and builders of acoustic and electric stringed instruments. Affiliated with the STEM Guitar Project (http://guitarbuilding.org) since 2010, ETSU’s Guitar Building project is following the open access tradition of this National Science Foundation (NSF) grant-funded student engagement effort. The designs and support materials herein are made available through a Creative Commons BY-SA 4.0 (Attribution-ShareAlike 4.0 International) license; please feel free to use, share, and adapt these designs and materials for your use. All we ask is for you to give appropriate credit to the ETSU Guitar Building project and this Open Educational Resource page.

For more information on the ETSU Guitar Building project, please visit our social media site at http://www.Facebook.com/ETSUGuitars.

This course examines works of film in relation to thematic issues of philosophical importance that also occur in other arts, particularly literature and opera. Emphasis is put on film's ability to represent and express feeling as well as cognition. Both written and cinematic works by Sturges, Shaw, Cocteau, Hitchcock, Joyce, and Bergman, among others, are considered. There are no tests or quizzes, however students write two major papers on media/philosophical research topics of their choosing.

This course is a seminar on the philosophical analysis of film art, with an emphasis on the ways in which it creates meaning through techniques that define a formal structure. There is a particular focus on aesthetic problems about appearance and reality, literary and visual effects, communication and alienation through film technology.

A Practical Approach to Understanding Music Theory is a textbook designed for the non-music performance major or music business/audio engineer who needs to professionally interface with musicians without needing to write or compose music. The material is designed around a spiral learning model in which a very simple straightforward concept is introduced, defined and explained. From this point and forward the book adds one element of music theory after another until a broad base of musical understanding and application is achieved. Even though the spiral learning model has a linear approach, the book is also laid out in a manner that any music student or hobbyist may treat it as a research manual to search out specific explanations of musical situations they encounter. This text is meant to be an all-inclusive explanation of how music is created, graphically distributed and performed for those who are not majoring in music theory, performance or education. It is aimed at those who are seeking a career in audio engineering, music business, artist representation, minoring in music, teaching lessons in a local community or someone who just wants to learn to play and understand music on a deeper level.

Production of Educational Videos is an introduction to technical communication that is situated in the production of educational videos; the assignments are all focused on the production of videos that teach some aspect of MIT's first-year core curriculum. The objective of these assignments is improvement in both communication ability and communication habits; these improvements are effected by providing participants with instruction, practice, feedback, and the opportunity for reflection. In addition to improvements in communication skills, improvement is expected in students' attitude towards writing, oral presentations, and collaboration; as the semester progresses, students should feel confident of their ability to write, present, and collaborate.