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Making Arrangements — MCO4112.01
In this course we will discover the basic principles of arranging for various ensembles playing in multiple genres (using horns, strings, background vocals, etc. along with a rhythm section). We will look at a wide range of notable artists working in many jazz subgenres and related styles. Students will submit work using music notation and/or digital recording platforms
Making Arrangements — MCO4112.01
In this course we will discover the basic principles of arranging for various ensembles playing in multiple genres (using horns, strings, background vocals, etc. along with a rhythm section). We will look at a wide range of notable artists working in many jazz subgenres and related styles. Students will be encouraged to creatively question existing forms and traditions in
Making from Scratch/ Sourcing the Body — DAN2256.02
This is a practice for participants of any discipline to activate the awareness towards the detailed body, vigorous body, sensitive body, rebellious body, fantastic body, in their chosen form or medium.
Trusting the intrinsic intelligence of the body in making, we will source multiple systems (eg. muscular, skeletal, fluid, organ) and other ways of reading the body (eg. energy
Making From Scratch/ Sourcing the Body — DAN4119.01
This is a practice for participants of any discipline to activate the awareness towards the detailed body, vigorous body, sensitive body, rebellious body, fantastic body, in their chosen form or medium.
Trusting the intrinsic intelligence of the body in making, we will source multiple systems (eg. muscular, skeletal, fluid, organ) and other ways of reading the body (eg. energy
Making from Scratch/Sourcing the Body — DAN2256.01
This is a practice for participants of any discipline to activate the awareness towards the detailed body, vigorous body, sensitive body, rebellious body, fantastic body, in their chosen form or medium.
Trusting the intrinsic intelligence of the body in making, we will source multiple systems (e.g. muscular, skeletal, fluid, organ) and other ways of reading the body (e.g.
Making It Personal — SCU4114.01
The question that animates this advanced sculpture course is: what do you want to say? As we develop our interests in sculpture it becomes more and more imperative to find our own voice. The role of the artist is to interpret personal conditions and experiences and find the most effective expression for them. Paradoxically, however, the artist finds out what they have to say by
Making Melody — MCO4134.01
Melodies are precise, mysterious, and magical in equal measure. In this course we will try to lift the veil of mystery and explore practices that will aid you in the creation of your own melodies. We will do this through the lens of Irish music, an oral tradition that informs the instructor's own composition. As an oral tradition, Irish music is handed down
Making Music with Modular Soft Synths — MCO4124.01
This class will focus on historical methods of electronic music composition through a contemporary lens. We will study synthesis in depth, and the development of early analog synthesizers, while learning how these techniques have influenced contemporary software design. While the class will focus on composing, students will be expected to learn how to use Reaktor, VCV Rack, and
Making Sense of World Events — POP2356.03
Once again, Gaza has burst into view at the center of world events. More refugee camp than nation-state, Gaza is home to 2.2 million Palestinians (half of whom are under the age of 18) squeezed into a narrow sliver of land 25 miles long and 7 miles wide. One of the most densely populated, barricaded, and now bombed places on the planet, Gaza now demands attention on several
Making Technical Theatre with Advanced Design Collaboration — DRA2383.02
Working in conjunction with Advanced Design and Collaboration, students will be invited to join the process of bringing the shows to life.
When theater starts with a script, visuals tend to follow the narrative. But what happens when bold visuals lead the way?
Students will explore each discipline of technical theatre and participate in collaborating to create each of the
Making the Third Ear — MUS4356.01
This class will start with a grounding in the history and science of psychoacoustics. We will listen to binaural beats, watch psychostrobic flicker, create beating patterns using oscillators, and conduct other experiments in the sound studio to gain a deeper understanding of psychoacoustics. We’ll study an array of musical examples in popular culture (iDosers) and contemporary
Making the Third Ear — MUS4356.01
This class will start with a grounding in the history and science of psychoacoustics. We will listen to binaural beats, watch psychostrobic flicker, create beating patterns using oscillators, and conduct other experiments in the sound studio to gain a deeper understanding of psychoacoustics. We’ll study an array of musical examples in popular culture (iDosers) and contemporary
Making Work — DAN4135.01
This course focuses on the creative process in making body/movement-based performance/dance. A variety of approaches to creating - intuitive, improvisational, and analytical - is exploited to uncover your individual interests, your process and your work. The workshop consists of unequal parts making, discussing, improvising and watching the work of other workshop participants.
Making Work: Aesthetics Ideology — DAN4169.01
This course is for students with prior experience making dance or performance art. In this class we will begin by looking at dances or performances from students’ own past work, or work they admire or are inspired by. We will use these as a springboard to discuss what attracts us in terms of aesthetics, site, style, identity, narratives, politics, etc., and consider how
Making Yesterday New — DRA4189.01
Ever had an interest in vintage clothing? Have you ever contemplated the fashion trends of decades past? Ever see a vintage dress that you thought you'd love to reproduce? In this course students will explore and research the fashions of 3 iconic decades; the 1920's, 1930's and 1940's. Students will then design a dress which fits into the silhouette of the period and construct
Malamud, Bellow, and Roth — LIT2391.01
We will immerse ourselves in the novels and stories of three extraordinary American writers of the mid-20th and early 21st centuries, Bernard Malamud, Saul Bellow and Philip Roth. We'll be starting with Malamud, then turning to Bellow, and finally to Roth, almost twenty years the youngest and still very much a dominant -- if self-proclaimed "retired" -- figure in
Malicious Compliance, or The Canterbury Tales — LIT2580.01
According to "All Englang," Joan Acocella's essay in The New Yorker, Geoffery Chaucer, author of The Canterbury Tales, "was the freshest, clearest, and sweetest of the great English poets." She goes on to say that, living in the 14th century, he was also perhaps the first great English poet. Still. Henry Wadsworth Longfellow wrote of Chaucer that "He is the poet of the
Mallet Percussion Ensemble — MPF4106.01
Mallet Percussion Ensemble performs compositions from repertoire arranged for percussion keyboard instruments, which include the Marimba, Xylophone, Glockenspiel, Vibraphone, Balafon and Tubular Bells. The ensemble will learn classical, contemporary, Latin and African music, as well as compose original compositions. No prior experience for playing mallet keyboards is required,
Mallet Percussion Ensemble — MPF4106.01
Mallet Percussion Ensemble explores a variety of musical techniques while creating compositions for the mallet keyboard instrument. Works for mallet percussion are learned or arranged from composers such as Bach, Fernando Sor, Gordon Stout, Franz Schubert, Jobim, Miles, and popular songs. No prior experience for playing mallet keyboards is required, but reading music and
Mallet Percussion Ensemble — MPF4106.01
Mallet Percussion Ensemble offers an environment for students to explore several mallet keyboard instruments, including the marimba, xylophone, glockenspiel, vibraphone, and African balafon. MPE's coursework is designed to link music theory, improvisation, and composition through the bi-weekly practice of playing scales, arpeggios, modes, and chord progressions while
Mallet Percussion Ensemble — MPF4106.01
Mallet Percussion Ensemble explores a variety of compositions and techniques for the mallet keyboard instrument. This includes compositions for Marimba, Xylophone, Glockenspiel, Vibraphone, and African Balafon. Compositions are adapted from classical, jazz, and rock, as well as movie themes and popular songs. No prior experience for playing mallet keyboards is required,
Mallet Percussion Ensemble — MPF4106.01
Mallet Percussion Ensemble (MPE) creates and develops original compositions for keyboard mallet instruments using a collective improvisation process. The ensemble also learns, arranges, and presents folkloric, classical, modern, and global genres of music. Students will study marimba, xylophone, glockenspiel, vibraphone, and African balafon. Our coursework connects to music