I propose an Interim course which introduces and outlines the history of Bluegrass music. The course will cover the invention and development of Bluegrass in America. As a general rule the music and artists will be presented in a linear progression. The bulk of the material covered will be from 1936 until the present, and most major Bluegrass artists (from Bill Monroe to Ronda Vincent) will be introduced and put into context. Their music will be listened too, explained and discussed.
A crash course in accordion! We start with basics of keyboard accordion, including keyboard skills for the right hand, using the bellows effectively, the left hand stradella bass system, and playing with 2 hands. We'll then play through some traditional accordion ensemble music as well as arrangements of pieces from the American experimental music tradition.
An Introduction to Sibelius will allow students to explore the Sibelius notation platform in a structured, guided setting. This course will include basic notation, keyboard shortcuts, score and part formatting, and an overview of each menu in the program. No experience is necessary; whether you'd like to learn the basics of note input or need to hone your layout skills, you'll find the answers here. Composers, performers, technologists, and musicians of all backgrounds are welcome.
Art Lande in his annual visit to CalArts will open everyone to new possibilities in improvisation.
This class will take the form of a series of open rehearsals, ear-training, technical and aesthetic discussions on Bach's solo violin sonatas with an emphasis on how the performer is to face intonation as an interpretative parameter when performing these works today. One of the central topics will be the possibility of various JI scordatura tunings as alternatives to the traditional meantone temperament. This is an invitation and an opportunity to revisit the sonatas with a fresh and innovative perspective.
Balkan Vocal Styles explores the vocal traditions of the Balkan region of Eastern Europe. Class will learn a variety of songs from celebratory, ritual, to music that is sang to a dance, duets, groups songs; We will cover pronunciation, placement, and history of the style.
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The 33 Liebeslieder and Neue Liebeslieder Waltzer by Johannes Brahms are short love songs in Ländler style for voices and four handed piano. We will examine first the origins and inspiration for theses songs, secondly, German language, syntax and diction, and finally, in preparing these pieces for performance, the appropriate chamber music style of the 19th century. Several performances are planned early in the spring semester. Open to all, highly recommended for vocalists and pianists. A familiarity with music reading is necessary. Looking for all voice types (soprano, alto, tenor, bass.)
A bridge is both a functional structure and a metaphorical construct. Bridges over waterways changed human culture by connecting peoples who otherwise would have remained apart. While streams of water, and in Southern California, traffic, flow under bridges, we want to instantiate a flow of sound over the stream.
Under the guidance of Austrian artist, Joachim Eckl, a group of students will seek out pathways and bridges in Valencia, and then map the terrain for a performance in which two groups meet at a bridge (or multiple bridges) to build a human sound connection over the stream (i.e., road) below. Eckl’s work has long dealt with water, rivers and social sculpture. His current project is Draw the Danube, Build a Bridge: (“On August 17th, 2017 at 3 pm, 280 teams will simultaneously capture an instant of the Danube: Close to 2000 people along its banks, from its origin in the Black Forest to its mouth at the Black Sea, will scoop handfuls of water from the river at exactly the same moment in time. They will pause to dedicate one hour to the river. Thus, in the course of one single afternoon, an instant of the Danube will be collected along the entire river.”)
As a part of the session we will get to know Eckl’s work, study other related works of land (and water) art and make the plans and rehearsals for the event.
Our Winter Session project will make a connection this work from the dry, drought pressured region of Southern California to the watery plain of the Danube and allow students to engage in a creative construction of a sound body, a social sculpture with sound as its means of transmission.
Tuesday, 1/9, 2-3pm (Laying out the project)
Thursday, 1/11, 2-4pm (Research day 1)
Friday, 1/12 3-4pm (Research day 2)
Tuesday, 1/16, 2-5pm (Final preparations)
Wednesday, 1/17 12 noon-6pm (project performance)
A two class workshop on the fundamentals of marketing, publishing, and finding your 'brand' as a composer and a musician. Class will include an overview of free online resources musicians can use to build an audience, a discussion on various publishing options, and general guidance on how to find your niche in the music world.
David Locke, visiting from Tufts University, will lead the first two sessions of this course, with Nani Agbeli and Andrew Grueschow. He will discuss his wide-ranging career in Ghanaian music as a performer, teacher, researcher, and writer. Through his lectures, students will become aware of the path he traveled to a successful career in Ghanaian music, and gain more insight into Ghanaian culture.
The student will self-select a research project centered around a specific aspect of Ghanaian music, or a career path in Ghanaian/World music, and complete the project by the final class. The final class will meet during the second week of interim. During this time students will present their research projects to the class, so we can all get the benefit from everyone’s work.
This course is an intensive, in-depth collaboration of students and faculty in order to develop chamber music skills. The course is open to advanced instrumentalists with a focus on string and string/piano literature. This course provides a special opportunity to work on major literature alongside faculty in a concentrated, uninterrupted manner, honing critical ensemble skills needed by all instrumentalists. The course will culminate in a performance presentation given by students and faculty in concert.
This course will function as a discussion seminar, in which students will analyze works by Bach, Brahms, Scriabin, and Michael Finnissy. The course will seek to provide students with a greater understanding of how Western European composers have sought to organize their musical materials and musical discourse in the context of a unified work.
What does it mean to copy? How has the idea of authorship developed through history? What does the concept of originality mean when digitally mediated systems can reproduce an object to a near infinite scale? This class will move beyond model and copy, original and image in order to learn how copying plays a role in how humans learn and share information. Participants in this course will re-examine notions of authorship, originality, copying, plagiarism and hacking by considering not only ancient mechanisms (oral traditions, scrivening) recent phenomena (sampling, plunderphonics) but also emergent and speculative technologies that render the existing notions of intellectual property obsolete. This class will pay special attention to the often thorny relationship between hip-hop producers/artists and the commercial recording industry, while also giving time to Gilles Deleuze, McKenzie Wark and Marcus Boon. This course is primarily focused on critical analysis and reading but participants will also produce new works in the medium(s) of their choice.
Ankhrasmation is a unique musical language developed by Wadada Leo Smith, that uses brightly colored graphic notation and imagery to structure ensemble-based performance and improvisation. In this class, students will learn how to read and interpret the various graphic and structural components of Ankhrasmation, including (but not limited to) music towers, rhythm units, velocity units, and improvisation units. Additionally, we will discuss some of the larger aesthetic, philosophical, and spiritual aspects of Ankhrasmation performance practice. Class time will be equally divided between group discussion, score analysis, and ensemble playing. The class will culminate with a group performance of selected Ankhrasmation works. All acoustic and electronic instrumentalists are welcome!
"Astronomers are searchers of the arcana of the stars, composers of the arcana of sounds." Edgard Varèse
The course will be about Edgard Varèse's musical journey, his influence on Western music and will discuss some of Edgard Varèse pieces such as Déserts, Ionizations, Density 21.5, Poème électronique and also some of his very early music.
An examination of epic film music from the 1930s to today, focusing on scores created in the European grand opera tradition.
Lecture => discussion => lab
Instructors will explain how things are done, show examples
(sound design process, Wwise, etc.)
> Explain principles/reasoning
> Live Demo of game audio
> Everyone will discuss their inspirations / examples of what was presented in lecture
> Maybe present their homeworks / how they did it / problems or questions they had
> What people would like to do/achieve
> People will start making sounds / music (doing their HW)
> Implement them into the game!!
> How is game music special
> Layers horizontal/vertical
> Procedural mockups
> How to write interactive music
> The mindset
> How to get sounds to be unique, and to not be stale over the game’s lifetime
> foley + Examples
> touch on Physics based sound rendering
> How to make it good
> How to make it not bad
> Dialogue using no words (gibberish), etc.
> Guest speaker maybe?
>> Someone who actually has experience writing dialogue trees
> What it does
> Why is it important
Session 1 - Game audio overview!! / getting started with Unity/Wwise
> The process
> Unity-Wwise Demo! (Show them AngryBots/some other demo)
> Get Unity/Wwise example project up and running
>>> HW: Make a sound and implement it
Session 2 - Sound Design
> Foley, Live demonstration
> Other sound design methods
> How to make sound not stale
>>> HW: make ambience/one shots, randomize them
Session ? - Interactive music
> Vertical vs horizontal
> Triggers, transitions, and stingers
> How to write it
> How to do it in Wwise
> Procedural music demo?
>>> HW: Make interactive music stems and implement them in Wwise
Session X - Starting from scratch!!
> How to set up your own Wwise/Unity projects
> Events, Banks, etc…
>>> HW: add your own events/sounds/states/triggers/etc. To this demo project
Session ? - Dialogue
> Guest speaker this dude
> Voice-acting (another guest speaker?)
>>> HW: record (pre-written?) / write dialogue or voice acting, implement in Wwise
Final Session - Project Presentation
This course focuses a practical introduction to the techniques and approaches involved in learning music written beyond a 1 to 1 dichotomy. Practical solutions will be presented on how to break down complicated rhythms and pitch material into their simplest forms as well as how to decouple music that utilizes multiple parameters into an approachable method. Other practical solutions will be covered on issues related to resources for developing needed extended techniques and practical solutions to overcoming issues in part making. Extensive work outside of class will be expected.
The music of Richard Barrett, Timothy McCormack, Michelle Lou, and Liza Lim will be explored and utilized as examples. Students are welcome to bring in repertoire as well.
Study of melodic/harmonic relationships and usage, polyrhythmic exercises, phrasing / articulation exercises and transcription assignments.
This course is aimed at guitarists (acoustic, electric, classical) and bassists (electric).
We will take a concise look at how instruments and amps are made, the function of their various parts, how they interact and how they are affected by use, age, weather changes, rough handling, etc.
The goal is to learn how to:
- maintain your instrument or amplifier to stay in its best shape
- set up your instrument for optimum performance according to your specific needs
- find sources of various problems (bad intonation, high action, uneven sound, etc) and learn to fix them
- understand common repair procedures
-understand when it is time to take your instrument or amp to a professional repairperson
We will use students’ and instructor’s instruments and amps to demonstrate each procedure in a practical way.
If you are not sure if this class is for you, please contact the instructor at firstname.lastname@example.org
This workshop will be a precursor to The Ensemble's March performance of Helmut Lachenmann's "Zwei Gefühle." This will be the central piece used to learn how to perform Lachenmann's techniques, but we will also look at the string quartets, and some of the solos. Though the class will be driven by string techniques, all instruments are welcome. We will investigate his work for all orchestra instruments.
This course is really just an offering to work with any percussionists, conductors, composers or other instrumentalists would be welcome to meet with me over the break to work on specific musical issues relating to: solo contemporary music, contemporary chamber music, the handling of complex notation/rhythmic issues, better understanding conducting, and general principles of musicianship as it relates to problems frequently encountered in contemporary music.
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Intensive Oboe Lessons.
PLEASE CONTACT firstname.lastname@example.org TO MAKE AN APPOINTMENT
Lessons and Coaching for individuals or ensembles on material which can dealt with in a few sessions.
Learning classical guitar technique or other beginning guitar skills are not appropriate subjects for this short time frame.
PLEASE CONTACT email@example.com TO ARRANGE LESSONS IN THE FIRST WEEK.
In live loop-based performance, artists use hardware or software to record and play back repeating sounds and musical phrases (“loops”) in real time. These loops can be combined and manipulated in infinite ways to create complex (or simple) compositions in a live setting. In this course students will explore, through lecture, discussion, workshop, and performance, different hardware and software setups for loop-based performance and composition, and how these setups offer different possibilities in creating and manipulating loops.
Topics of lecture and discussion will include:
▪ What looping is
▪ Technical considerations in choosing and creating your looping setup
▪ Hardware vs. software loop-based setups
▪ How the technical aspects of your setup will shape your performance and composition
▪ How the audio of your loops can be manipulated and processed after they are captured
▪ Working with controllers for software looping
▪ How to create a “narrative” in your music using the tools available to you
▪ Balancing loops that are created onstage, live (unlooped) elements, and pre-recorded elements
▪ Working with other live musicians during a loop-based performance
▪ How the composition process is affected when working with loops. In other words, thinking (or not thinking) “modularly” in your composition process.
▪ Working with (or not working with) tempo and rhythm with your looping setup
Following the lecture and discussion, a workshopping portion of the class will involve students showing live looping setups that they are currently working with or sharing ideas for looping setups they are conceiving of if they have not worked with looping before. This will include a discussion about each setup and how the topics discussed previously apply to them.
Finally, students will either perform a short piece (5-minutes max) that demonstrates concepts discussed in the class, or present a proposal for a loop-based setup including the setup’s limitations, benefits, and musically stylistic implications.
We will explore and practice a very old (Buddhist) meditation method The Complete Miindfulness of Breathing. Special emphasis will be given to Listening. We will try also to practice concentrated listening to some of Bach`s peaceful and cheerful little pieces.
This course will focus on the works of significant composers of the 20th and 21st Centuries, and will emphasize connections between music and the visual arts as well as literature (for example: Morton Feldman/Mark Rothko/Samuel Beckett or Luigi Nono/Antonio Machado/Andrei Tarkovsky). We will listen to works by these composers, watch excerpts of films, look at paintings, read excerpts of literary works, etc...The purpose of this way of teaching will be to develop a sense of the multidimensionality of much recent music, and to highlight cross-pollination between composition, film, dance, painting, sculpture, plays, novels, poetry, and philosophical writings.
In this workshop, Nicholas Deyoe and Matt Barbier will talk about the preparation and production of performance materials (scores/parts, etc) from pragmatic and philosophical standpoints. Over two sessions, we will investigate this practice from both a composition and performance perspective. Central topics will be: anticipating performer needs, how to manipulate parts that have been given to you, digital vs paper, and standard vs creative practices.
Guitar as a One-Man/Woman-Band:
We will explore essential open tunings, polyrhythms and fingerstyle textures as well as multi-layered tapping and percussion techniques!
Class is open to guitar and bass guitar. Students will be required to learn at least three short excerpts from pieces explored in the class and obtain a basic understanding of DADGAD tuning.
Lessons +/or coachings primarily for students who have not had the opportunity to study with Marc.
In this class, students will learn the rudiments of public speaking in the music world: how to structure and format dynamic talks, lectures, and presentations of their own or others' works; how to appear relaxed and in control while presenting; how to connect with audiences, both academic and non-academic; and how to project their voice in larger conference settings. This class will also go over strategies in Q&A situations and panels. The class will be divided into three sections: the first section will have students connect with their voices and bodies through relaxation techniques, exercises from Alexander and Linklater techniques, and theater games. The second section will have students watch and analyze successful speeches and lectures to understand how talks and lectures are formatted in order to communicate their ideas in the most efficient and dynamic way possible. Finally, students will prepare their own 10-15 minute talk/lecture on either their own performance practice or music (or it can be a presentation on another musician's music) that they will present to the class, which will include a brief 5-10 minute Q&A period. I am open to the idea of having students from other metiers joining the class as well.
This class is perfect for BFA and MFA students interested in academia and presenting their work at conferences. This class is also beneficial to students who have stage fright or stage anxiety; a large chunk of this class will be about appearing confident in front of a crowd and dispelling the notion of "apologizing for existing." Even if students are not interested in presenting their work in the future, I want students to come away from this class with confidence, a greater sense of self, and the reassurance to raise their voice and take up space when needed.
During the first two meetings of this project, the instructor will give an overview and history of the iconic and infamous Burningman Festival, held every summer in a remote part of Nevada's Black Rock desert. Through videos, documentaries, and photos, and a close reading, discussion and understanding of the Ten Principles of Burningman and the website's information on planning and presenting art there, students will take away a good idea of what it's like to participate. The project between week One and week Two, will be for students to make a plan for presenting a project, a performing art, a sculpture or an art car. We will learn about all logistics necessary to prepare, from how to survive the elements, to how to apply for a low income ticket, and an art grant. Our last session will be presentations by students of their mock (or possibly real!) plans to attend and present art at Burningman.
This dynamic, intensive 2-week course will offer multiple perspectives on various regional musical traditions of Brazil.
The first week of this course will be primarily focused on learning about and playing several musical styles of urban community-based Afro-Brazilian drumming ensembles, including the bloco afro traditions of Bahia, the escola de samba traditions of Rio de Janeiro, and maracatu nação traditions of Pernambuco. In this collective hands-on process, we will explore group rhythm exercises and learn basic playing techniques for a variety of Brazilian drums and percussion, as well as the rich social and historical contexts that have anchored these powerful forms of African diasporic cultural expression for generations.
The second week will build on this foundation with a survey of other Brazilian musical genres that are rooted in both rural and urban settings, introducing various styles of samba, samba rock, and partido alto, as well as choro, bossa nova, baião, coco, capoeira, and afoxé. Students will learn to identify instrumentation and rhythmic structures that have historically defined these styles, as well as some of the song forms and melodies that are typical of these traditions. Additionally, this course will offer contemporary approaches to adapting these Brazilian rhythms to the drumset.
Depending on student interest within the course, there may also be an opportunity to play select repertoire as an ensemble, using instruments of their choice. There may also be discussions on how students may consider integrating Brazilian music in their own artistic practices. Supplemental materials to be used throughout the course will include audio & video samples, charts of selected repertoire, and readings.
Instructors for this course will be Alex Shaw (MFA-2 World Percussion) and Marcelo Bucater (MFA-2 Jazz Drums). Prior experience playing percussion, while helpful, is not a prerequisite to register for this course. Please contact firstname.lastname@example.org or email@example.com with any questions or concerns.
The Singer Songwriter project is open to 9 student ensembles who will record a song in ROD and the DRS. Selection will take place in late November/early December. More information about the selection criteria and process will be published soon.
Students must be available the weekend of January 13 and 14. There will be three rehearsals/coaching sessions the week before which performing students taking the course for credit are required to attend. Engineering students are expected to attend the entire weekend of recording while the performing students are only expected to attend the recording sessions they are involved in. Please email Marc with any questions.
This will be an intensive project/workshop in learning how to play Taiko, the Japanese drum. The workshop will be primarily taught by two MFA students, Richard An and Wells Leng, the co-founders of CalArts' student club Hinotani Taiko. There will be 3 two-hour sessions, and one three-hour session, culminating in a concert at the end of the last session. Drums will be provided!! No previous taiko or drumming experience is needed. No previous music reading or musical experience is needed. All beginners, all levels are welcome to join. Outside practice will be assigned, and some practice sessions outside of class will be organized. Students in the workshop will learn the basics of taiko technique, a traditional piece, some movement skills, and a cultural introduction to what being in a taiko ensemble is like. Open to whole Institute.
Feedback—originally seen as the curse of amplification—over time has become an important musical material of amplified works from the mid 20th century onwards.
It can be found in experimental art music (Ashley-Wolfman, Reich-Pendulum Music, Neuman-Fontana Mix Feed, etc.) and, of course, as main musical material in rock music (Hendrix, Velvet Underground, Who, Grateful Dead, etc.).
This first part of the class will look at the theory and history of feedback. It will talk about the acoustic principles of feedback, its historic development as musical material from the 1960s to today, look at different approaches to feedback (e.g. analogue vs. digital) and analyze a few exemplary works of feedback music.
This second part of the class will be hands-on from open experimentation to developing original pieces to performing these pieces in concert together with some of the feedback classics.
(5 meetings, 0.5 units)
I Understanding Feedback 1
- acoustic principles of feedback
- a survey of feedback based art music from 1960-now
II Understanding Feedback 2
- acoustic principles of feedback in special relation to guitar and amps
- a survey of feedback based popular music from 1960-now
III Performing Feedback 1
- get your hands on it., experimenting with different feedback approaches
IV Performing Feedback 2
- rehearsal of repertoire (Reich, Cage) and original student pieces
(—should be in ROD if at all possible)
V Performing Feedback 3
- concert ROD
What does a fairy tale sound like? How is a fairy tale made audible? In this course we will examine fairy tales and oral tradition, seeking out the sounds and music that make them come alive, focusing on the use of sound in oral tradition and the musical aspects of the fairy tale. We will deconstruct storytelling and look to the past to find new ways of transmission, culminating in an individualized final project inspired by fairy tales. We will look at a vast variety of fairy tales in different mediums such as film, television, music, and radio plays. Topics to be covered include magical realism, auditory osmosis, nonlinear narratives, feminist fairy tales, Soviet fairy tale films, and Angela Carter.
In this intensive, I will be using game theory, existing games and creative writing to create my own incredibly complex game. The game will be based on human interaction and involve elements of other complex games such as "Survivor" and "Diplomacy." Over the course of interim, I will design the game and create a 20+ page rule book. The purpose of the game is not to be played- if would take a considerable amount of effort to play and it'll be next to impossible to win. Rather, it explores human interaction and relationships for what they are- an intricate set of rules that are always changing.
In Bali or in Java, the Gamelan Orchestra specially the most modern gamelan, they known have a colorful orchestration and also known for their musical vitality, their complex musical structures and rhythmic complexity. These modern gamelan orchestra in Bali is known as the Gamelan Gong Kebyar, and in Java so called Gamelan Seprangkat. These gamelans can be used for many different types ceremonial events, and also they can accompany for varied number of dances, dance drama, and theaters. For this Winter Session, three of us in the Indonesian Music and Dance Program, Djoko Walujo, Nanik Wenten and myself are going to collaborate to teach classes/ workshops to emphasize of the gamelan pieces for the accompaniment of dances.
Need a way to relax: Want to learn how to knit? Want to learn new skills? Hang out with other knitters and work on a project! Students need only provide their own needle (suggested size 8,9 or 10, circular) and some yarn. I will provide for the financially strapped, just let me know in advance. A bit of math, some hand coordination, and a lot of fun.
This year's Charlie Haden/CalArts Artist in Residence guest is Scott Colley. Students will play together with Scott, reading Scott's original compositions and a variety of other music including the music of Charlie Haden.
An art gallery, a performance space, a movie theater—all these things can and have been imitated countless times in open-ended virtual worlds like Second Life, where users themselves are responsible for the vast majority of the content one encounters. In addition, however, to showcasing creative work in more conventional simulated surroundings, the people who populate these worlds have also gone further, making places that don’t serve primarily to contain another creation; the places are the creation, blending sight and sound with interactivity and a sense of shared presence.
Whether designed mainly as art installation, historical replica, roleplaying community, storefront, or elaborate online home, these places benefit greatly from the creative freedom that a virtual world provides: form can be entirely separated from function, and the laws of physics (and public safety) need not apply. We will explore and discuss as many examples of this kind of placemaking as possible, learning how people from various backgrounds and disciplines have taken advantage of virtual worlds as a way to extend their reach, both globally and artistically.
VOICES IN THE WILDERNESS
Improvising to exist in the world
This course is set as a 24 hour camping experience in the Los Angeles National Forest. Arriving at 11 a.m. the participants will be exposed to basic techniques to sustain life in a natural environment, such as making a shelter for the night and building a fire, this as means to connect with the basic concepts and experiences of Survival Skills which emphasize the use of the senses, awareness of the environment, and the act of being present. The day will evolve into a series of guided and free improvisations for the voice among the participants. This course is facilitated by guest artist and Survival Expert Manu Toigo in collaboration with jazz improviser Meltem Ege, and experimental vocalist Carmina Escobar.
There is a $50.00 dollar fee for materials, participants have to arrive to the location on their own, and have to provide their own cold weather sleeping bag. Prior to the day of the camping experience, a meeting will be held at CalArts to address any questions about the event.
W Szczebrzeszynie chrząszcz brzmi w trzcine is geared towards the students interested in learning foreign languages and willing to be challenged by difficulties of arguably the most complicated of Slovak languages and certainly one of the most difficult languages in the world, Polish. The first part of the course will focus on phonetics, diction and basic grammar of Polish. The second part of the course will take more of a workshop shape and students will be able to work on a song, poem or a piece of text that they would like to perform. Vocalists currently working on their repertoire in Polish will have a chance to workshop it in class.
This course will introduce students to writing for the bassoon. The course will begin with a brief history of the instrument and its roles in traditional music. Basics of range, timbre, instrumental techniques and challenges (what works and what does not) will be covered.
Contemporary sounds and techniques will be demonstrated. Information will be given about how contemporary sounds are notated.
Students will be asked to write a sketch or full piece for 1 to 3 bassoons. During the final class, we will read the works written by students in the class.