Music
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CURRENT STRATEGIES FOR COMPOSITION AND PERFORMANCE: sound, movement, vision — MPF4218.02
This is a combination seminar and lab that will offer immersion into the process of creating performance work through the investigation of resources and inspirations crossing the usual disciplinary boundaries of music, movement, and retinal art. The course will culminate in a performance of student works.
Dalcroze Eurhythmics and The City of Rhythm — MFN2148.01
Founded in 1909, the garden city of Hellerau had an odd design aesthetic: everything would be based on principles of rhythm. Instead of placing a church in the center, the city planners invited the Swiss musician and choreographer Emile Jaques-Dalcroze and the visionary stage designer Adolphe Appia to design a modern theatre and college where they would teach Dalcroze’s Methode
Dalcroze Eurhythmics: A Pedagogy for Noticing — MFN2147.01
What do you know that your sentient, feeling body did not first experience? The Swiss musician Emile Jaques-Dalcroze (1865-1950) developed a whole pedagogy of music and movement to explore this question. Self-awareness, self-expression, and musical knowing are all seated in the body, the fundamental constant of all experience. But how do we honor that truth in our learning? We
Dalcroze Eurhythmics: Experiencing Body, Expressive Body — MFN2119.01
Dalcroze Eurhythmics is a music class where we practice sensing the body through sound. What do you know that your sentient, feeling body did not first experience? How does music help you express yourself? Can music help you get to know someone else?
The feeling body is the single constant throughout all of our experiences, but can be easily forgotten amidst the notes and
Dalcroze Eurhythmics: Groove, Body, Flow State — MFN2155.01
When we lose our bodies in space, how do we retrace our steps? How does the body move in response to a constantly changing environment? Can we use music to communicate or even initiate a true, embodied experience?
To all three, Swiss pianist and composer Emile Jaques-Dalcroze (1865-1950) thought it was impossible not to. As a professor at the Geneva Conservatory,
Dalcroze Eurhythmics: Groove, Gesture, and Embodied Knowing — MFN2114.01
Emile Jaques-Dalcroze (1865-1950) saw all music as a metaphor for the body experiencing itself. We don’t just hear music: we feel it, and the Swiss-born composer and teacher invented a whole coursework to musically explore our sixth sense, proprioception. In Eurhythmics, (greek for ‘good flow’) we'll play with embodiment as the origin of dynamic, felt experience, designing
Dalcroze Eurhythmics: Music and Motion — MFN2215.01
Dalcroze Eurhythmics is a music class where we practice sensing the body through sound. What do you know that your sentient, feeling body did not first experience? How does music help you know and express yourself? Can music help you understand someone else?
Emile Jaques-Dalcroze (1865-1950) saw all music as a metaphor for the body experiencing itself. We don’t just hear music
Dalcroze Eurhythmics: Music of the Body, Mind, and Spirit — MFN2121.01) (cancelled 11/27/2023
What do you know that your sentient, feeling body did not first experience? The musician Emile Jaques-Dalcroze (1865-1950) invented Eurhythmics to explore this question. Self-awareness, self-expression, and musical knowing are all seated in the body, the fundamental constant of all experience. So how do we honor that truth in our learning? We notice and name discrete events,
Dalcroze Eurhythmics: The Body Indispensable — MFN2118.01
What if everything you want to understand about music is already within you, innate, instinctive, indelible? When Emile Jaques-Dalcroze (1865-1950) first taught harmony to students at the Geneva Conservatory in the 1890s, he found a disconnect between their aural perception and physical coordination, and devised a coursework to re-unite the two. He called it Eurhythmics,
Dalcroze Eurhythmics: the body plays the score — MFN2175.01
Dalcroze Eurhythmics is a music class where we practice sensing the body through musical movement. Can our bodies help us learn how to read and interpret sheet music too? Yes!
The feeling body is the single constant throughout all of our experiences, but
Dalcroze Eurhythmics: Time, Space, Energy — MFN2174.01
We performers, makers, and listeners think of sound as music’s medium, but we don’t just hear music: we feel it. We will play with embodiment and as the origin of dynamic, felt experience and with proprioception as the bridge connecting our innate musical understanding to the abstract language of musical sound. Students’ weekly homework--listening, conducting, and following
Dancing Drumming — DAN2134.01
This class is aimed to instruct dancers on the Art of Drumming , and drummers on the Art of Dancing. The drummers are in conversation with the dancers and the dancers in conversation with the drummers; they learn from each other. In Africa, to become a dancer you had to learn to be a drummer; if you are a drummer you had to learn to move. Movement and sound are connected to the
Deep Listening : The Music Of William Parker 1973- 2021 — MHI2111.01
In this course of Deep Listening students will become familiar with recordings outlining the trajectory of the recording career of bassist, composer, and multi-instrumentalist William Parker as a sideman and leader of select ensembles. William Parker’s recordings document some of free jazz’s most prominent innovators including, Cecil Taylor, Peter Brötzmann, David Ware, and
Devising: Creation Stories — DRA2319.01
Devising is a form of collaborative creation in which the performers themselves author every moment of the performance. It is made by and belongs to them.
In this course we will devise a theatrical work inspired both by creation myths and contemporary stories, and what they mean for us today. Students will adapt myths and stories they choose from current events to bring an
Digital Analogues — MCO4107.01
Technology and human innovation have linked sound and moving image throughout the last century, from the earliest phonograph and film synchronizations in the 1890s, to optical and magnetic soundtracks married to 16mm and 35mm film in the 1930s, to multi-track digital sound and multi-track digital video installations, hacker DIY innovations and live events. This course will go
Digital Materiality — MS4101.01
“The cloud” is not in the sky, but is comprised of thousands of securitized data centers and fiber optic networks that span continents. Undersea cables still carry nearly all internet traffic that travels across oceans. How can we critically analyze these massive systems that are often either invisible or too large to see all at once? This course will explore the materiality of
Dis/orientation in Spatial Sound Composition and Expanded Image — MSR4112.01) (cancelled 5/6/2024
This course will be based on Sara Ahmed’s theories on orientation and dis/orientation and her questioning of “What do such moments of disorientation tell us? What do they do, and what can we do with them?” The course will focus on finding recipes for the concept of dis/orientation using immersive audio technologies and expanded images and will focus on materializing the texts
Double Exposure: Acting for Singers, Singing for Actors — DRA4385.01
Actors and singers study remarkably similar skills: efficient use of the body and breath, research and development of character and context, staying present and emotionally connected. But even the most seasoned performer feels doubly exposed when asked to sing and act at the same time. In this class, using repertoire as varied as incidental music for Shakespeare, musical
Double Exposure: Acting for Singers/Singing for Actors — DRA4263.01
Actors and singers study remarkably similar skills: efficient use of the body and breath, development of text, character and context, staying present and emotionally connected. But even the most seasoned performer feels doubly exposed when asked to sing and act at the same time. In this class, using repertoire as varied as incidental music for Shakespeare plays, musical theatre
Double Exposure: Acting for Singers/Singing for Actors — DRA4263.01
Actors and singers study remarkably similar skills: efficient use of the body and breath, development of text, character and context, staying present and emotionally connected. But even the most seasoned performer feels doubly exposed when asked to sing and act at the same time. In this class, using repertoire as varied as incidental music for Shakespeare plays, musical theatre
Dramatic Underscore Sound Design — MSR4102.01
This is a hands-on course on making dramatic soundtracks for media and/or live performances. We will learn to create soundtracks by careful analysis of scenes from dramas, science fiction, and horror. We will explore the materials used: acoustic, electronic, found sounds, and field-captured sounds. Pacing, tempo, and density. How silence is used. What makes
Draw/Read/Write Sound I — MSR2213.01
In this course, we will draw/write/read ways to consider and make music and sound. This is a class for all artists (music, theater, visual arts, film & video, dance, animation, critical studies) who are interested in making and notating their own sounds, but might not have experience (or limited experience) with formal music studies or
Drum Set Fundamentals — MIN2261.01
This course is for students who have moderate experience in playing drum set, but also for novice. Students who have some background in playing drum set will have an opportunity to fine-tune their fundamentals by working on rudimentary stick control and overall drum set technique, which includes grooves (beats) and drum fills. Students who are new to the drum set will begin