This course introduces students to the art and formal ideologies of contemporary dance. We explore the aesthetic and technical underpinnings of contemporary dance composition. Basic compositional techniques are discussed and practiced, with an emphasis on principles such as weight, space, time, effort, and shape. Principles of musicality are considered and developed by each student. Working with each other as the raw material of the dance, students develop short compositions that reveal their understanding of basic techniques. Hopefully, students come to understand a range of compositional possibilities available to artists who work with the medium of the human body.

This course will examine theory of scenic design as currently practiced, as well as historical traditions for use of performance space and audience/performer engagement. Four play scripts and one opera or dance theater piece will be designed after in-depth analysis; emphasis will be on the social, political and cultural milieu at the time of their creation, and now.

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.

Classical - Neoclassical Forms

Word Count: 140348

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Classical - Neoclassical Forms

Word Count: 161902

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Devised theatre is a method of theatre-making in which the script or (if it is a predominantly physical work) performance score originates from collaborative, often improvisatory work by a performing ensemble. The ensemble is typically made up of actors, but other categories of theatre practitioner may also be central to this process of generative collaboration, such as visual artists, composers, and choreographers; indeed, in many instances, the contributions of collaborating artists may transcend professional specialization.

Please view this book as a source of knowledge but know that every director you meet both good and bad you will learn from. Your journey is never over and the goal of any artist should be to take the lessons of the past, learn from your own experience, and transform your understanding into a unique approach that will change the future of the artform. This is my gift to you as you are the future. Best of luck on your journey.

Études culturelles africaines

Short Description:
Comment lire et comprendre les pratiques culturelles africaines? Comment mobiliser les savoirs sur l’Afrique, ses arts et ses cultures sans verser dans la réification ou le folklorisme? Profondément novateur, cet ouvrage collectif mobilise les outils théoriques des cultural studies pour proposer un généreux panorama de l’étude de la culture en Afrique. Il rassemble des textes d’auteurs et d’autrices d’Afrique de l'Ouest, théoriques ou descriptifs, qui mettent en lumière la réévaluation passionnante des modes d’appréhension des pratiques et objets en contexte africain que proposent les études culturelles africaines. L’épilogue qui clôt le livre n’est donc point fermeture, mais plutôt ouverture sur les enjeux relatifs à ce nouveau champ d’études, plein de promesses pour rendre compte de l’extraordinaire créativité des cultures africaines.

Long Description:
Comment lire et comprendre les pratiques culturelles africaines? Comment mobiliser les savoirs sur l’Afrique, ses arts et ses cultures sans verser dans la réification ou le folklorisme? Profondément novateur, cet ouvrage collectif mobilise les outils théoriques des cultural studies pour proposer un généreux panorama de l’étude de la culture en Afrique. Il rassemble des textes d’auteurs et d’autrices d’Afrique de l’ouest, théoriques ou descriptifs, qui mettent en lumière la réévaluation passionnante des modes d’appréhension des pratiques et objets en contexte africain que proposent les études culturelles africaines. L’épilogue qui clôt le livre n’est donc point fermeture, mais plutôt ouverture sur les enjeux relatifs à ce nouveau champ d’études, plein de promesses pour rendre compte de l’extraordinaire créativité des cultures africaines.

Word Count: 78460

ISBN: 978-2-924661-82-6

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This course examines European music from the early Middle Ages until the end of the Renaissance. It includes a chronological survey and intensive study of three topics: chant and its development, music in Italy 1340-1420, and music in Elizabethan England. Instruction focuses on methods and pitfalls in studying music of the distant past. Students' papers, problem sets, and presentations explore lives, genres, and works in depth. Works are studied in facsimile of original notation, and from original manuscripts at MIT, where possible.

Word Count: 87381

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Shakespeare "doth bestride the narrow world" of the English Renaissance "like a colossus," leaving his contemporaries "walk under his large legs and peep about" to find themselves in "dishonourable graves." This course aims in part to correct this grave injustice by surveying the extraordinary output of playwrights whose names have largely been eclipsed by their more luminous compatriot: Marlowe, Jonson, Webster, and Ford, among others. Reading Shakespeare as just one of a group of practitioners -- many of whom were more popular than him during and even after his remarkable career -- will restore, I hope, a sense not just of the richness of English Renaissance drama, but also that of the historical and cultural moment of the English Renaissance itself. This course will examine the relationship between theatre and society through the lens of the drama produced in response to these changes. However, we will not try to map the progress of drama directly onto the social world, as if the former can simply read off the latter. Rather, focusing on discrete issues and problems, we will try to understand the ways in which a particular text not only reflects but responds to and shapes aspects of the culture from which it derives, developing an aesthetic that actively engages its world. The topics addressed over the course of the semester will be wide-ranging but will include: gender and class dynamics in Renaissance society; money, trade, and colonialism; the body as metaphor and theatrical "object"; allegory and aesthetic form; theatricality and meta-theatricality; the private and the public.

This text explores the visual and performing arts (art, music, dance, theatre).
Chapter 1: Elements, Vocabulary, and Iconography of Visual Art
Chapter 2: Mediums in Visual Art
Chapter 3: Ancient Arts (Prehistoric, Ancient Near East, Egyptian)
Chapter 4: Classical Period to Middle Ages
Chapter 5: Renaissance to Realism
Chapter 6: Impressionism to Modern
Chapter 7: An Introduction to the Theater and its Elements
Chapter 8: The Greek Origins of Western Theater
Chapter 9: Technical Theater
Chapter 10: The Actor's Craft
Chapter 11: Other Theater Traditions
Chapter 12: Introduction to Music
Chapter 13: Music in the Middle Ages and the Renaissance
Chapter 14: Baroque and Classical Music
Chapter 15: Music of the Romantic Era
Chapter 16: Music of the 20th Century
Chapter 17: Introduction to Dance
Chapter 18: Elements of Dance
Chapter 19: Dance History and Styles

"Focus on 'Henry V'" is a peer-reviewed, multimedia, digital Open Educational Resource co-authored and co-produced by faculty, graduate students, and undergraduates on the innovative digital publishing platform Scalar. Chapters include guides to early printed editions, sources, and performance and cinematic histories of the play, as well as teaching resources and in-depth case-studies of particular scenes. All chapters include rich multimedia and audio recordings of body text and image captions. In addition to a traditional Table of Contents, the digital book allows users to navigate the materials through multiple pathways and visualizations. In this way the book offers not only a cutting-edge, renewable OER for college and K-12 teachers but also a model for maximizing the affordances of the digital medium.

In the sections of Chapter 1, we’ve included interactive learning content to test your knowledge over Theater history and production, with many knowledge checks over Theatrical Worlds, Edited by Charles Mitchell, as well as Playhouse Square theaters and productions, and other theater content. This content can be used by Theater students anywhere in the world, but will be helpful to those reading Theatrical Worlds.

In Chapter 2, there are analyses of local live performance, written by CSU Theater students and Heather Caprette. They serve as examples of exemplary work for the open assignment 2, as well as provide information about performances of interest to the public theater goers. * A Note of Caution: These analyses can not be copied by other Theater students to satisfy the requirement for an assignment in a course, but will give an idea of what a well written analysis paper looks like. Copying of these assignments to turn in as your own assignment constitutes plagiarism and academic misconduct.

Chapter 3, is an example of how a group of students working together on the recreation of a scene or small part of a play can share their ideas. The part should be less than 10% of a play. The example is being produced by Heather Caprette, MFA, but in the assignment, different students would work on various aspects of the theater production. Elements recreated include: dialogue, character design, set design, stage lighting, costume design, and sound design.

At this time, it’s best to view the Pressbook in Chrome browser, due to some display issues caused by a recent upgrade.

FYS 207 Dancing Drones

COURSE DESCRIPTION & PREREQUISITES Seminars focus on topics of general interest while developing key academic foundations (reading, information literacy, creative and critical thinking, technological literacy, and either writing or quantitative literacy). Quantitative-focused seminars integrate assignments that require the use and understanding of quantitative information/evidence.

This course will explore the parallels between dance and coding and will culminate in creating an electronic dance using basic tools from dance choreography, eDance costumes, and basic coding skills. No previous dance or coding experience is needed.

COURSE GOALS: FYS 207: ILLUMINATING THE CODE OF DANCE

Students will convert relevant information into various mathematical forms
Students will solve a problem (creating an illuminated dance) using strategies across the disciplines of dance and computer science
Students will put into practice knowledge of coding, iteration and abstraction and will be expressing themselves through choreography and dance.

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 class introduces students to the rudiments of Western music through oral, aural, and written practice utilizing rhythm, melody, intervals, scales, chords, and musical notation. The approach is based upon the inclusive Kodály philosophy of music education. Individual skills are addressed through a variety of means, emphasizing singing and keyboard practice in the required piano labs.

This open e-book is the result of a project funded by a University of Edinburgh Student Experience Grant, Open e-Textbooks for access to music education. The project was a collaboration between Open Educational Resources Service, and staff and student interns from the Reid School of Music. As a proof-of-concept endeavour, the project aimed to explore how effectively we could convert existing course content into convenient and reusable open formats suitable for use by staff and students both within and beyond the University. The resulting e-book presents open licensed educational materials that deal with the building blocks of musical stave (sometimes known as staff) notation, a language designed to communicate about musical ideas which is in use around the world. The resources in this e-book include video lectures and their transcripts, as well as supporting text explanations, examples and illustrations. The materials introduce topics such as the organisation of discrete pitches into scales and intervals, and temporal organisation of musical sounds as duration, in rhythm and metre. These rudiments are presented through an introduction to the elements of five-line stave notation, and through critical discussion of the advantages and limitations served by notational systems in the representation and analysis of musical sounds. This serves as the basis of further explanations, to illustrate musical concepts including key, time signature, harmonisation, cadence and modulation. We anticipate that subsequent versions of this e-book will update and develop the contents and presentation of the materials, following the success of this student-led collaboration.

Word Count: 175811

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This course examines contemporary and historical cultural production on and from Africa across a range of registers, including literary, musical and visual arts, material culture, and science and technology. It employs key theoretical concepts from anthropology and social theory to analyze these forms and phenomena. It also uses case studies to consider how Africa articulates its place in, and relationship to, the world through creative practices. Discussion topics are largely drawn from Francophone and sub-Saharan Africa, but also from throughout the continent and the African diaspora.