DOCSLIB.ORG

TBSHS a Level Music Technology

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TBSHS a Level Music Technology TBSHS A Level Music Technology Bridging Unit 2020 INTRODUCTION Welcome to the start of your journey in A Level Music. This Bridging Unit has been designed to help you make a smooth crossing from GCSE over to A Level, providing you with the structure and direction needed in order to hit the ground running in September. You have been provided with opportunities to develop your skills and knowledge across the three main aspects of the course (Performance, Composition, and Appraisal) along with a series of compulsory tasks. You will be expected to hand in all work in September, and also to demonstrate what you have learned, through further initial assessments. You should print this workbook off, but will also need it in electronic form in order to access the links. OVERVIEW OF WORK Skill Area Task When to complete 1. Listening o Suggested Listening o June-Sept o Analysis of Exemplar Compositions o June-July o Analysis of Exemplar Recordings o June-July 2. Reading o Suggested Reading o June-Sept 3. Research o Classic Albums Research Project o Late August* 4. Practical o Instrumental/Vocal Practise o June-Sept o Introduction to Synthesisers Course o June-July o Samples composition project o June-July *Should be completed between results day and returning to school 1 | P a g e Skill Area 1 Listening WHAT IS GOOD LISTENING? To succeed at A Level Music Technology, you will need to become an expert listener. You may already feel that you are a great listener, after all, you probably spend a significant amount of your time listening to a range of different music. However, A Level Music Technology demands more than just passive, ‘sat on the sofa with your feet up’ listening. You need to become a critical, analytical and curious listener, who can dissect a piece of music with their ears, working out how sounds have been created and how they have been processed. Curiosity is the beginning of becoming an expert in any field. High level Music Technologists always ask themselves the following types of question: • How was that achieved? • How could it be improved? • What effect would it have if I changed this aspect? • Why does that work? Why does that not work? Through critical questioning, you will develop high quality knowledge and understanding, moving you ever closer to the levels of expertise needed at A Level. TASK 1 – LISTENING; JUNE - SEPT Throughout the summer, you should challenge yourself to listen to an ever increasing range and variety of music. This means planning in time, finding good quality headphones/speakers and listening critically to the music. You should also read around the music that you listen to; gaining an understanding of the context of a piece and the technology that was utilised at the time can be vital in fully appreciating a composers’ intentions, and the extent to which you think they succeeded. Use the following range of resources as a starting point and get listening: RECOMMENDED ALBUMS ON SPOTIFY / APPLE MUSIC / DEEZER ETC… Artist Album/s Information Matthew Herbert Plat Du Jour Be prepared for something very different… An album created entirely of samples of elements of the food and drink industry that Herbert finds abhorrent. Read more about his intentions here, and find a full list of the samples used here. Pierre Schaeffer Cinq Etudes De Not an easy listen, but essential content for all music Bruits (1948) technologists. Schaeffer is the father of electronic composition and one of if not the first to make music with magnetic tape. This deserves your attention. 2 | P a g e Kraftwerk Trans Europe Few bands have had as great an influence on electronic Express (1977) music in the popular sphere. Make time to sit and take in this epic on good quality speakers/headphones. The Beatles Please Please Me Not electronic music, but what better example of (1963) simple, 2-track, album-in-a-day, studio recording! De La Soul 3 Feet High and A fantastic example of how to create new and original Rising (1989) music using samples from existing work. Watch this video after listening to the album to understand in more detail. YOUTUBE How Music Technology Can Change Lives – Inspiring TED Talk How to Translate the Feeling Into Sound – Music Technology in Live Performance PODCASTS Song Exploder Unstoppable Recording Machine UBK Happy Funtime Hour Noise Creators The Home Recording Show Pensado’s Place TASK 2: ANALYSIS OF EXEMPLAR COMPOSITION WORK – JUNE/JULY A Level composition and mixing differs from basic song writing or completely free, experimental compositional styles. Although originality and creativity remain the thrust of this work at A Level, you must also show that you are capable of working within established structures and traditions, ensuring that you demonstrate enough skill to earn to achieve the very highest marks. It would be perfectly possible to write a hugely interesting and enjoyable composition/mix yet only achieve half marks. You need to learn how to direct your creativity around the fine details of the mark scheme so that your work can be rewarded with the highest possible grade. You need to then learn to think like Music Technology examiners. Below, you will find the following documents: • The Edexcel Music Technology Composition Mark Scheme • Composition 1 • Logbook for Composition 1 • Composition 2 • Logbook for Composition 2 • Examiner feedback on Composition 1 • Examiner feedback on Composition 2 3 | P a g e You will need to do the following: • Listen to Composition 1 twice, following through the logbook as you do so. • Listen again whilst studying the mark scheme. Decide what you would award the composition for each of the three main areas and complete the table below with your marks. • On a different day, complete the same cycle of activities for Composition 2. • Finally, read through the examiner’s feedback in order to gain an understanding of what the candidates did well/not so well. Synthesis (creating Sampling (reusing Creative Effects Total Edexcel A original sounds) existing sounds) (reverb, echo, Level Music /8 /8 distortion etc…) /50 Technology /8 Composition 1 Composition 2 Composition 3 TASK 3: ANALYSIS OF EXEMPLAR RECORDING WORK – JUNE/JULY On this course, you will learn how to record, mix and master a pop song in its entirety. This project is hugely exciting if a little daunting. To help prepare you, here are some examples of successful projects and the feedback from the examiner as to why they did well. I have not asked you to mark them as interpreting the mark scheme at this point will be difficult, however, please do look at the mark scheme and see how the examiner refers to it. • The Edexcel Music Technology Mixing Mark Scheme • Mix 1 • Logbook for Mix 1 • Mix 2 • Logbook for Mix 2 • Examiner feedback for Mix 1 • Examiner feedback for Mix 2 4 | P a g e Skill Area 2 Reading TASK 2 – SUGGESTED READING; JUNE-SEPT Just as crucial in developing your ability as a technologist is extending your frames of reference through extensive reading. There is no specific required reading for this course, however I have included some highly recommended books below, which will certainly help to increase your knowledge base in advance of the A Level course starting in September. Music Technology from Scratch – Rhind-Tutt How Music Works – John Powell Yeah Yeah Yeah – Bob Stanley Sound on Sound – Magazine The Story of Electronic Music - Stubbs A Level Music Technology Study Guide – Hallas 5 | P a g e Skill Area 3 Research TASK 1: CLASSIC ALBUMS RESEARCH PROJECT; JUNE-JULY One of the joys of the Music Technology course is discovering a much deeper understanding of the history of modern recorded music. In preparation for this, your next task is to complete a research project based on a “classic album” from the past 60 years. Some suggestions have been given to you, and although you may have your own ideas, I recommend choosing something that you are not so familiar with yet. Your project can be completed in any medium, but must be ready to present during the first week back in September. To be a success, your research project should, amongst other things, explore: • The band/artist that recorded it • The context of the album within their wider body of work • The instruments and technology used • Specific recording techniques • Who produced/engineered/mixed/mastered the record • The studio used for recording • How this album impacted the wider industry as a whole Good examples of “classic albums”: Artist Album Year Paul Simon Graceland 1986 Stevie Wonder Songs in the Key of Life 1976 Fleetwood Mac Rumours 1977 Bob Marley and the Wailers Catch a Fire 1973 Steely Dan Aja 1977 Iron Maiden The Number of the Beast 1982 Elton John Goodbye Yellow Brick Road 1973 Pink Floyd The Dark Side of the Moon 1973 Nirvana Nevermind 1991 Queen A Night at the Opera 1975 Jay Z Reasonable Doubt 1996 The Beach Boys Pet Sounds 1966 Amy Winehouse Back to Black 2006 Phil Collins Face Value 1981 Elvis Presley Elvis Presley 1956 The Beatles Sgt. Pepper’s Lonely Hearts Club Band 1985 6 | P a g e Skill Area 4 Practical TASK 1: INSTRUMENTAL / VOCAL PRACTISE – JUNE-SEPT Even as a music technologist, you should still be aiming to maintain your instrumental/vocal skills as a musician. This should mean that you are completing 30 minutes per day, 3-5 times per week. This is further to getting warmed up properly for each practise session. It can be very easy to confuse “completing a piece” with purposeful practise. There follows ‘Ten Top Tips’ to help ensure that your practise is always purposeful, designed to ensure you make genuine musical progress rather than simply learning more pieces.
Load more

Recommended publications
  • Music-Program-Sheet.Pdf
    MUSIC TECHNOLOGY Music Technology Associate in Science Major Code 2206 Program Description Entrance Requirements The Associate in Science degree in Music Technology is HS Diploma or GED designed for students who intend to seek employment in the commercial music field and for those who are presently Music Student Advising employed in the music technology field and desire Prior to seeking general academic advisement on their home advancement. Some of the careers, to which this sequence campuses, AA students majoring in music, and AS students may lead, are recording engineer, sound designer, live sound majoring in music production must first seek advisement reinforcement engineer and producer. on the music course of study through the office of the Visual & Performing Arts Department on Central Campus (Building Related Programs 4, Room 130). Auditions for performance and registration for Audio Technology Certificate Major Code 6309 music courses will be handled in the V&PA offices only. Broward College is accredited by the National Association of Vocal Studies Students Language Requirement Schools of Music (NASM), 11250 Roger Bacon Drive, Suite All Broward College music students who are majoring in vocal 21 Reston, VA 20190-5248. Telephone: 703-437-0700, E- studies MUST as a required part of their studies take one of the following languages: French, German and/or mail: [email protected] Italian. Courses in these languages are available through the communications department at Broward College. First Year, Term I Second Year, Term I MUS1360
    [Show full text]
  • Music (MUSIC) 1
    Music (MUSIC) 1 Music (MUSIC) Courses MUSIC 103. Music Technology Tools. 1 Credit. An introduction to music software and technology commonly used by musicians. P: conc enr Music 151 Fall Only. MUSIC 115. Ear Training and Sight Singing I. 1 Credit. Concentrated drill in all aspects of musicianship. Emphasis on sight singing and aural perception in intervals, melodies, chords and rhythms. Fall Only. MUSIC 116. Ear Training and Sight Singing II. 1 Credit. Concentrated drill in all aspects of musicianship. Emphasis on sight singing and aural perception in intervals, melodies, chords and rhythms. P: MUSIC 115 Spring. MUSIC 120. Video Game Music. 3 Credits. This course will equip students to understand the interdisciplinary role, historical progression, musical methodology, technological application, and unique artistry of music in video games. Students will contribute to the class learning environment by researching and presenting a game music composer from an interdisciplinary perspective. Through guided instruction, students will also compose their own basic game music. (No musical background required!) Spring. MUSIC 121. Survey of Western Music. 3 Credits. The musical styles of several well-known composers as evident in selected compositions; review of a basic repertoire of musical compositions of various forms and styles. Fall Only. MUSIC 122. Electronic Music Production. 3 Credits. This project-based course will teach the basic principles of modern music production using the Ableton Live software platform. Topics covered include audio and MIDI tracking, clip editing, software instruments, effects, synthesis, sampling, and elementary editing and mixing. Fall and Spring. MUSIC 151. Music Theory I. 3 Credits. The materials of which Western music is made are viewed not only in structural terms, but also in psychological, aesthetic and social perspective.
    [Show full text]
  • Sound Studies: New Technologies and Music
    Sound Studies: New Technologies and Music Trevor Pinch and Karin Bijsterveld Developments in sound technologies over the last 50 years have dramat- ically changed the way that music is produced and consumed. In the 19th century most music was experienced as live performance. Today most music is listened to individually through technologically mediated devices, such as a personal stereo or a personal computer that enables the down- loading of MP3 files over the Internet, and in the past few decades music has been produced with new electronic instruments such as the Theremin, the Hammond Organ, the electric guitar, the synthesizer, and the digital sampler. Technologies such as the phonograph, tape-recorder, and com- pact disk have enabled ‘sound’ to be produced, controlled, and manipu- lated independently from musicians. In today’s recording studios the sound engineers can be as important in the production of ‘the sound’ as are the musicians themselves. But how can such changes be understood and what do they mean for listeners and for science and technology studies (S&TS)? The papers in this special issue address such issues. The papers were first presented at an international workshop, ‘Sound Matters: New Tech- nology in Music’, held at the University of Maastricht, the Netherlands, in November 2002. The scholars at the workshop were drawn from such diverse fields as ethnomusicology, history, anthropology, cultural studies, sociology, and S&TS. All were working on some aspect of what we might call ‘auditory culture’. For such scholars, sound matters. The topic of the workshop was new technologies and music. The papers covered a range of technological innovations in the way in which music was produced and consumed.
    [Show full text]
  • Introduction to Music Technology
    PUBLIC SCHOOLS OF EDISON TOWNSHIP DIVISION OF CURRICULUM AND INSTRUCTION INTRODUCTION TO MUSIC TECHNOLOGY Length of Course: Semester (Full Year) Elective / Required: Elective Schools: High Schools Student Eligibility: Grade 9-12 Credit Value: 5 credits Date Approved: September 24, 2012 Introduction to Music Technology TABLE OF CONTENTS Statement of Purpose ----------------------------------------------------------------------------------- 3 Introduction ------------------------------------------------------------------------------------------------- 4 Course Objectives ---------------------------------------------------------------------------------------- 6 Unit 1: Introduction to Music Technology Course and Lab ------------------------------------9 Unit 2: Legal and Ethical Issues In Digital Music -----------------------------------------------11 Unit 3: Basic Projects: Mash-ups and Podcasts ------------------------------------------------13 Unit 4: The Science of Sound & Sound Transmission ----------------------------------------14 Unit 5: Sound Reproduction – From Edison to MP3 ------------------------------------------16 Unit 6: Electronic Composition – Tools For The Musician -----------------------------------18 Unit 7: Pro Tools ---------------------------------------------------------------------------------------20 Unit 8: Matching Sight to Sound: Video & Film -------------------------------------------------22 APPENDICES A Performance Assessments B Course Texts and Supplemental Materials C Technology/Website References D Arts
    [Show full text]
  • Musical Instruments for the Music Unit
    Chapter XI Instruments and Equipment Nicholas DeCarbo, Associate Dean Frost School of Music, University of Miami It goes without saying that music units need considerable equipment such as acoustical shells, staging, risers, chairs, music stands, podiums, instrument storage cabinets, laboratory workstations, music library systems, audio systems, and quality instruments. All music programs also need equipment devoted to technology, including hardware, software, and furniture. Because of advances in technology, music units use an array of electronic keyboard instruments for piano labs, classrooms, recording studios, music technology centers, and faculty studio/offices. Of course, music units also continue to need traditional acoustic instruments, such as concert grand pianos, upright pianos, harps, contra clarinets, English horns, contrabassoons, a full complement of percussion instruments, and sousaphones for the marching band. According to the Higher Education Arts Data Survey (HEADS), 474 public and private accredited and nonaccredited music units in the United States reported spending an average of $53,440 on equipment, $16,336 on leases and rentals, and $9,861 on repair during 2004–5. During that same period, 358 music units reported spending an average of $17,051 on technology. This chapter discusses the planning process needed for the purchase and/or lease of equipment, instruments, and technology-related items, along with guidelines for maintaining inventories. Planning for Equipment and Instrument Purchases Due to the lack of competition, the cost of equipment for performance venues, rehearsal spaces, and faculty studios is high compared to equipment purchases in many other areas of the university, excepting the sciences. Moreover, the music executive is often in the position of having to convince the higher administration that the needs are valid.
    [Show full text]
  • Associate of Science in Music Technology Program
    Associate of Science in Music Technology – 2206 Career Pathway: Arts, Humanities, Communication & Design (AHCD) Location(s): General Education courses are offered at all BC locations. Program specific courses for this program are offered at the A. Hugh Adams Central Campus Program Description: The Associate of Science degree in Music Technology is designed for students who intend to seek employment in the commercial music field and for those who are presently employed in the music technology field and desire advancement. Some of the careers, to which this sequence may lead, are recording engineer, sound designer, live sound reinforcement engineer and producer. Visit program’s website for more information. Program Entrance Requirements: A proficiency level equal to MUT1001 (Fundamentals of Music). Student are recommended to take MUT1001 if their proficiency level does not meet the requirement. Build Your Education Audio Technology Music Technology AS Bachelors of Applied (TC1) 6309 2206 Science Recommended Course Sequence Full Time Part Time Course ID Description Credits TC1 MUS1360 Introduction to Music Technology 1 X Term 1 MUT1271C Musicianship for Music Technology I 3 Term 1 ENC1101 Composition I 3 MUL2010 Music Appreciation 3 Term 2 MGF1106 Foundations of Mathematical Reasoning 3 MUS2342C Digital Audio I 3 X Term 3 MUS2344C Midi Systems 3 X MUT1272C Musicianship for Music Technology II 3 Term 2 MUM2620C Acoustics and Audio Technology 2 X Term 4 SPC1024 or Introduction to Speech Communications (or) 3 SPC1608 Introduction to Public
    [Show full text]
  • Education Through Music Technology
    Education Through Music Technology Matthew Prockup, Alyssa Batula, Brandon Morton, and Youngmoo E. Kim Music and Entertainment Technology Laboratory (MET-lab) Electrical and Computer Engineering, Drexel University fmprockup, abatula, bmorton, [email protected] Abstract—Our music technology research group has developed to bring educational and cultural organizations together to a series of formal and informal education programs that motivate promote science throughout out the city of Philadelphia. both music and STEM (science, technology, engineering, and Additionally, we have developed a more formal education math) education through music and audio technology. The first program, called iNotes, is a collaboration with the Philadelphia program, the Summer Music Technology program (SMT). Orchestra. iNotes is a system which tracks the audio of a Over the past five years, we have developed a series of lessons live orchestral performance and uses acoustic features to align designed to introduce high school students to the engineering, the performance to the musical score. We informally educate science, and mathematics behind modern music technology. users by presenting real-time contextual information about the Each lesson emphasizes signal processing concepts, tools, and performance to a user’s mobile device, giving them a greater understanding of the piece as it’s performed. Our second, methods through hands-on activities that require minimal pre- more formal education program, the Summer Music Technology requisite knowledge. The activities, which were developed by program (SMT), is a week long summer camp that introduces signal processing engineers with musical backgrounds, focus the engineering, science, and mathematics behind modern music on different aspects of music technology and have learning technology.
    [Show full text]
  • Music Technology in the Classroom
    Columbus State University CSU ePress Theses and Dissertations Student Publications 5-2004 Music Technology in the Classroom John A. Manseau Jr. Columbus State University Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Education Commons Recommended Citation Manseau, John A. Jr., "Music Technology in the Classroom" (2004). Theses and Dissertations. 69. https://csuepress.columbusstate.edu/theses_dissertations/69 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. Columbus State University Music Technology in the Classroom John A. Manseau May 2004 Table of Contents I. Introduction 1 II. Historical background of technology 1 III. Change in instruction 6 IV. Effects on learning 10 V. Use of technology in the classroom 14 VI. Guide to technology and the National Standards 19 VII. Philosophical viewpoints 21 VIII. Appendices Appendix A: Lesson Plans 26 Appendix B: Tap It Test 33 Appendix C: Rubric for TimeSketch Editor Lesson 34 Appendix D: Resources 35 IX. PowerPoint Presentation (print out) 37 X. References 54 Music Technology in the Classroom Introduction The last twenty years have exhibited unprecedented growth of music technology in the fields of commercial music, professional recording studios, personal home studios, and music education in the public school music classroom. With the establishment of school district programs providing students with access to computer technology from state lottery monies, music classrooms are now receiving their own computers and music software. Music software in the marketplace provides challenges to teachers and their efforts to integrate technology to their classroom instruction.
    [Show full text]
  • Magical Music Technology
    Magical Music Technology Mark Hildred An overview of music technology Music technology can be used to enable children with physical disabilities to play music and sounds. They Motion often make use of alternative controllers, that detect Sensors a range of specific movements or gestures. In music technology there are several key components: ● Motion sensors – a sensor or switch to detect the Interface movement. ● Interface - convert the signal from the sensor into an electronic signal, probably MIDI. ● Sound generator - a box that can turn the information from the interface into a sound, for Sound Generator example a MIDI sound module or keyboard. ● Speakers - to make the sound audible. These may be integrated into a single unit or each be a specific box connected together. Speakers Why?Why? Access Presets Sounds MicMic && FXFX The ability to amplify voices and add effects such as reverb or echo is enormously engaging. Children reluctant to vocalise will often find their voice when presented with a microphone. They can also lend additional colours to storytelling.. Soundbeam The 'red torch' sends out clicks like a bat to detect movement. Movement is changed to musical notes and chords. You can also connect a switch box allowing the use of standard accessible switches. The latest version (see overleaf) just needs a pair of speakers, but older versions might require additional equipment such as a sound module. www.soundbeam.co.uk The Soundbeam 6 (left) adds a touchscreen for easier editing and access to presets. Apollo Ensemble PC software links switches and sensors to notes, chords and sounds. Can also trigger images and lighting.
    [Show full text]
  • Seminar: Introduction to Ethnomusicology Fall 2019 Professor Sarah Politz ([email protected]) Mondays 4-7 Pm, Music Building
    Seminar: Introduction to Ethnomusicology Fall 2019 Professor Sarah Politz ([email protected]) Mondays 4-7 pm, Music Building 146 Office hours: Tuesdays 1-3 pm or by appointment, http://bit.ly/politzhours Office: Music Building 341 Course description: This course introduces the history, methods, and critical tools of ethnomusicology, with emphasis on ethnography, cultural theory, and the analysis of performance. The class highlights the interdisciplinary nature of the field, for example through connections with anthropology, historical musicology, music technology, gender studies, cultural studies, critical race theory, and postcolonial theory, considering their implications for research. Assignments: • Weekly response papers (about 500 words each) submitted online at midnight the day before class (you may skip one of these during the semester) • Lead one class discussion in collaboration with a classmate • Field notes • Short ethnographic narrative • Transcription of provided piece • Book review • Final paper of around 15 pages, double spaced, on an ethnomusicological topic of your choosing (abstract to be submitted in advance) • Oral presentation of the final project Required texts: All readings will be posted to the course website. Course Schedule August 26 – Course introduction September 2 (no class – Labor Day) September 9 – What Is Ethnomusicology? *What area or topic in ethnomusicology are you most interested in following this semester? Make an appointment with Prof. Politz to discuss possible semester paper topics. Deborah Wong, 2006, “Ethnomusicology and Difference” Steven Loza, 2006, “Challenges to the Euroamericentric Ethnomusicological Canon: Alternatives for Graduate Readings, Theory, and Method” Bruno Nettl, 2010, Nettl’s Elephant: On the History of Ethnomusicology, introduction, chapters 1-2 and 11 2 September 16 – Performing Ethnomusicology *Prior to September 23, attend one rehearsal of a world music ensemble at UF.
    [Show full text]
  • New Perspectives on Classical Music Through the Work of Mark Oâ
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2005 Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck Louanne Marie Iannaccone University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Music Commons Recommended Citation Iannaccone, Louanne Marie, "Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck. " Master's Thesis, University of Tennessee, 2005. https://trace.tennessee.edu/utk_gradthes/2014 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Louanne Marie Iannaccone entitled "Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Dr. Leslie C. Gay, Jr., Major Professor We have read this thesis and recommend its acceptance: Dr. Wesley Baldwin, Dr. Rachel Golden Carlson Accepted for the Council: Carolyn R.
    [Show full text]
  • MUA 1760 Percussion Techniques and Pedagogy Cr
    MUA 1760 Percussion Techniques and Pedagogy Cr. 2 MUA - MUSIC ENSEMBLES Techniques and fundamental problems in the playing and teaching of percussion instruments. Offered Fall. AND GENERAL COURSES Prerequisites: MUT 1140 with a minimum grade of D- or MUT 1100 with a minimum grade of D- MUA 0804 Warrior Band Cr. 0 Restriction(s): Enrollment is limited to students with a major in Music or Warrior band performs for all home football games during fall term and Music Honors. basketball games during late fall and winter terms. Performances for Course Material Fees: $75 University special events may be scheduled. Offered Fall, Winter. MUA 1795 Piano Skills I Cr. 2 Restriction(s): Enrollment is limited to Undergraduate level students. Repertoire, scales, sight reading, harmonization, and simple MUA 0900 General Lectures and Concerts Cr. 0 transpositions. Offered Every Term. Lectures by visiting scholars; recitals by invited guest artists; student and Prerequisites: MUA 1710 with a minimum grade of C faculty recitals, concerts and convocations. Offered Fall, Winter. Restriction(s): Enrollment is limited to students with a major in Music MUA 1700 Guitar Class Cr. 2 or Music Honors; enrollment limited to students in the BA in Fine Arts or Fundamentals in guitar playing; techniques, hand positions, bar chords, Bachelor of Music programs. general performance practices. Offered Fall, Winter. Course Material Fees: $75 Course Material Fees: $75 MUA 2400 Survey of the Music Business Cr. 3 Repeatable for 8 Credits Survey of music business and music business careers. Overview of MUA 1710 Piano Class Cr. 2 economics of music industry. Examination of problems in cultural Rudiments of rhythmic and staff notation, beginning keyboard technique, careers.
    [Show full text]