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!
Azor is known throughout the world as one of the most powerful voices in traditional sacred music in Vodou. He and his group of traditional drummers travel and record extensively especially in Japan. Their repertoire ranges from traditional chants to "Vodou jazz.Ű
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 project was created by members of the Luna Nova new music ensemble (www.lunanova.org). It provides a complete recording and animated score analysis of the sonata as well as a history of the work, a glossary and a quiz.
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.
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.