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.

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 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.

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.

                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

This class explores the artistry of Lighting Design. Students gain an overall technical working knowledge of the tools of the trade, and learn how, and where to apply them to a final design. However essential technical expertise is, the class stresses the artistic, conceptual, collaborative side of the craft. The class format is a "hands on" approach, with a good portion of class time spent in a theatre.