This is the syllabus for a course that explores the pre-history of cinema.  

The Public Domain Song Anthology by David Berger and Chuck Israels is a collection of 348 popular songs with modern and traditional harmonization for both study and performance. This open educational resource was curated by two leading jazz repertory experts and consists of songs in the US public domain. This anthology is the first of its kind and is free for students and performers to use, adapt, remix, and share. The songs, many of which are at risk of being forgotten, are free of copyright restrictions and are available in multiple formats to promote greater usage and dissemination.

This course analyzes mainstream, popular films produced in the post-World War II 20th century U.S. as cultural texts that shed light on ongoing historical struggles over gender identity and appropriate sexual behaviors. It traces the history of LGBTQ/queer film through the 20th and into the 21st century. It also examines the effect of the Hollywood Production Code and censorship of sexual themes and content, and the subsequent subversion of queer cultural production in embedded codes and metaphors. In addition, this course also considers the significance of these films as artifacts and examples of various aspects of queer theory.

Sample Wrench is an extensive digital audio analysis and editing tool that runs under Windows. Formerly a commercial product for many years, I recently placed this as non-commercial redistributable freeware. It is useful for coursework in electronics, audio, acoustics, music production and the like. Opens and saves .wav and other popular sound files. Waveforms can be viewed in the time domain like a digital oscilloscope and also via 2D and pseudo 3D spectral displays. Features a wide array of editing tools including EQ, filtering, pitch shifting, time compression, spectral warping, etc. Also offers a macro language which allows batch processing and the creation of custom functions.

More information about it can be found at http://www.dissidents.com/audio.htm

Screening Shakespeare is an open-access web-based textbook written and designed by Alexa Alice
Joubin based on her original research. It contains openly-licensed learning modules that introduce
students to key concepts of film studies, such as mise-en-scène, cinematography, sound and music,
and film theory within the context of film adaptations of Shakespeare’s plays.

Filmed Shakespeare began in 1899, with Sir Herbert Beerbohm Tree performing the death scene from King John for the camera. Sarah Bernhardt, who had played Hamlet a number of times in her long career, filmed the duel scene for the Paris Exposition of 1900. In the era of silent film (1895-1929) several hundred Shakespeare films were made in England, France Germany and the United States, Even without the spoken word, Shakespeare was popular in the new medium. The first half-century of sound included many of the most highly regarded Shakespeare films, among them -- Laurence Olivier's Hamlet and Henry V, Orson Welles' Othello and Chimes at Midnight, Kurosawa's Throne of Blood, Polanski's Macbeth and Zeffirelli's Romeo and Juliet. We are now in the midst of an extremely rich and varied period for Shakespeare on film which began with the release of Kenneth Branagh's Henry V in 1989 and includes such films as Richard Loncraine's Richard III, Julie Taymor's Titus, Zeffirelli and Almereyda's Hamlet films, Baz Luhrmann's William Shakespeare's Romeo + Juliet, and Shakespeare in Love. The phenomenon of filmed Shakespeare raises many questions for literary and media studies about adaptation, authorship, the status of "classic" texts and their variant forms, the role of Shakespeare in youth and popular culture, and the transition from manuscript, book and stage to the modern medium of film and its recent digitally inflected forms.
Most of our work will involve individual and group analysis of the "film text" -- that is, of specific sequences in the films, aided by videotape, DVD, the Shakespeare Electronic Archive, and some of the software tools for video annoatation developed by the MIT Shakespeare Project under the MIT-Microsoft iCampus Initiative.
We will study the films as works of art in their own right, and try to understand the means -- literary, dramatic, performative, cinematic -- by which they engage audiences and create meaning. With Shakespeare film as example, we will discuss how stories cross time, culture and media, and reflect on the benefits as well as the limitations of such migration.
The class will be conducted as a structured discussion, punctuated by student presentations and "mini-lectures" by the instructor. Students will introduce discussions, prepare clips and examples, and the major "written" work will take the form of presentations to the class and multimedia annotations as well as conventional short essays.
The methodological bias of the class is close "reading" of both text and film. This is a class in which your insights will form a major part of the work and will be the basis of a large fraction of class discussion. You will need to read carefully, to watch and listen to the films carefully, and develop effective ways of conveying your ideas to the class.

The "small wonders" to which our course will attend are moments of present time, depicted in the verbal and visual media of the modern age: newspapers, novels and stories, poems, photographs, films, etc. We will move between visual and verbal media across a considerable span of time, from eighteenth-century poetry and prose fiction to twenty-first century social networking and microblogging sites, and from sculpture to photography, film, and digital visual media. With help from philosophers, contemporary cultural historians, and others, we will begin to think about a media practice largely taken for granted in our own moment.

This course closely examines a coherent set of short texts and/or visual works. The selections may be the shorter works of one or more authors (poems, short stories or novellas), or short films and other visual media. Additionally, we will focus on formal issues and thematic meditations around the title of the course "Staying Alive." Content varies from semester to semester.

This is an assignment for an Introduction to Media course. The activity includes students comparing and contrasting historic radio productions and contemporary podcasts. Students then choose their own short story, essay, poem, etc. that is approximately 200-300 words and/or under 5 minutes when read aloud. Students create a transcript of their story selection and create an audio recording on Padlet.com, a free media platform. Students then share their readings with classmates, listen to each other's recordings and discuss several creative attributes of their audio recordings.

This course investigates relationships between two media, film and literature, studying works linked across the two media by genre, topic, and style. It aims to sharpen appreciation of major works of cinema and of literary narrative. The course explores how artworks challenge and cross cultural, political and aesthetic boundaries. It includes some attention to theory of narrative. Films to be studied include works by Akira Kurosawa, John Ford, Francis Ford Coppolla, Clint Eastwood, Orson Welles, Billy Wilder, and Federico Fellini, among others. Literary works include texts by Aeschylus, Sophocles, Shakespeare, Cervantes, Honoré de Balzac, Henry James and F. Scott Fitzgerald.

This course aims to provide an overview of Indian popular culture over the last two decades, through a variety of material such as popular fiction, music, television and Bombay cinema. The class will explore major themes and their representations in relation to current social and political issues. In particular, students will examine the elements of the formulaic "masala movie", music and melodrama, the ideas of nostalgia and incumbent change in youth culture, as well as shifting questions of gender and sexuality in popular fiction. During the course, students will look at some journalistic writing, advertising clips and political cartoons to understand the relation between the popular culture and the social imagery of a nation. This course is taught in English.

21G.031 examines the terms "avant garde" and "Kulturindustrie" in French and German culture of the early twentieth century. Considering the origins of these concepts in surrealist and dadaist literature, art, and cinema, the course then expands to engage parallel formations across Europe, particularly in the former Soviet Union. Emphasis on the specific historical conditions that enabled these interventions. Guiding questions are these: What was original about the historical avant-garde? What connections between art and revolution did avant-garde writers and artists imagine? What strategies did they deploy to meet their modernist imperatives? To what extent did their projects maintain a critical stance towards the culture industry?
Surveying key interventions in the fields of poetry, painting, sculpture, photography, film, and music, the readings also include signal moments in critical thought of the last century. Figures to be considered are: Adorno, Aragon, Bataille, Beckett, Brecht, Breton, Bürger, Duchamp, Eisenstein, Ernst, Jünger, Greenberg, Kandinsky, Malevich, Mayakovsky, and Tzara. Taught in English, but students are encouraged to consult original sources when possible.

Transmedia narratives exist across multiple storytelling platforms, using the advantages of each to enhance the experience of the audience. No matter which medium nor how many, the heart of any successful transmedia project is a good story. In this class we will spend time on the basics of solid storytelling in speculative fiction before we move on to how to translate those elements into various media. We will then explore how different presentations in different media can complement and enhance our storytelling. While we will read scholarly articles and discuss ideas about transmedia, this is primarily a class in making speculative fiction transmedia projects. We will analyze the strengths and weaknesses of various mediums and consider how they complement each other, and how by using several different media we can give the audience a more complete, rewarding, and immersive experience.

Demonstrating the connection between historical events and the Hip-Hop genre. This lesson is to introduce the Hip-Hop genre as well as identify its connection with events within history. This lesson is to give insight on the genre and how music was used to communicate and inform. 

Our Class Piano & Piano Pedagogy teaching professor Dr. Janci Bronson has created a YouTube education channel designed to support student virtual learning within group piano and/or private lessons.
The educational channel covers the following key topics: beginning keyboard technique, sight-reading, transposition, scales, arpeggios, chords, harmonization, & improvisation.
Note: each video comes with closed captions, brief descriptions, suggestions to related videos, and chapters (“show more” under the video description).
We hope you may find these supplemental videos helpful to share with your group piano students. We welcome your feedback and suggestions to continue improving the videos.

Iowa State University's Class Piano & Piano Pedagogy teaching professor Dr. Janci Bronson has created a YouTube education channel, Dr. Janci Bronson on YouTube, designed to support student virtual learning within group piano and/or private lessons. Sponsored by the Miller Open Education Mini-Grant Program at Iowa State University, the channel covers the following key topics: beginning keyboard technique, sight-reading, transposition, scales, arpeggios, chords, harmonization, and improvisation.
Note: each video comes with closed captions, brief descriptions, suggestions to related videos, and chapters (“show more” under the video description).
We hope you may find these supplemental videos helpful to share with your group piano students. We welcome your feedback and suggestions to continue improving the videos.

The subtitle of this course for the spring 2003 term is "American Television: A Cultural History." The class takes a cultural approach to television's evolution as a technology and system of representation, considering television as a system of storytelling and myth-making, and as a cultural practice, studied from anthropological, literary, and cinematic perspectives. The course focuses on prime-time commercial broadcasting, the medium's technological and economic history, and theoretical perspectives. There is much required viewing as well as readings in media theory and cultural interpretation.

Review of how to light a subject for video shoots using a three light set-up. 

This course is an invitation to German film-making since the end of the Second World War. We investigate how German cinema captured the atmosphere of the immediate post-war years and discuss extensively major works of the "New German Cinema" of the Sixties and Seventies. We also look at examples of East Germany's film production and finally observe the very different roads German cinema has been taking from the 1990's into the present.