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1 Sample Syllabus EXPERIMENTS IN THE FUTURE OF PERFORMING AND PRODUCING Course Number REMU-UT.9814 / 001 / 002 SAMPLE SYLLABUS Instructors’ Contact Information Robert Lippok (production) [email protected], [email protected] Christina Wheeler (performance) [email protected] Course Details Tuesdays Section 1 - 4:00 pm – 5:15 pm Section 2 - 5:30 pm – 6:45 pm Class 1 (Lippok, Wheeler) @ Riverside Studios - ‘The Lab’ Class 2 – 6 (Lippok) @ Riverside Studios - ‘The Lab’ or Studio 1 (see course description) Class 7 – 12 (Wheeler) @ Riverside Studios - ‘The Lab’ Class 13, 14 (Wheeler) - Maschinenhaus @ Kulturbrauerei Students are also required to attend two out-of-class one-on-one feedback sessions with Robert Lippok. The first meeting is on November 7th 12 pm - 7 pm and the second meeting is December 5th 12pm - 7 pm. Additional details and meeting location are forthcoming. Locations Riverside Studios is located at Pfuelstraße 5, Entrance 5, Downstairs, 10997. Kreuzberg- Berlin (get there from the Academic Center by either U2+U8+U1, or by tram M10+U1, or by U2+ Bus 165/265; getting there from Residence by U6+U1). Maschinenhaus is located at the Kulturbrauerei, Knaackstrasse 97, 10435. Prenzlauer Berg, Berlin Prerequisites This class is limited in size and only open to Clive Davis Institute of Recorded Music majors who have successfully passed Producing the Record Side A or B. Non Recorded Music majors may petition the instructor to take the class, provided that they have advanced-level production experience or have taken an advanced-level course that is equivalent to TSOA’s Producing the Record. Units earned 2 Course Description The purpose of this workshop is to expose students to forward-thinking ways to conceive of creative approaches to performing and producing. As the traditional global recorded music economy has diminished over the last two decades, live performance and touring has become 1 an increasingly important and primary source of income for recording artists. In addition, record producing — once a stable artform largely tied to the manufacture and distribution of physical products like the album and the CD — continues to evolve in a post mp3, post- ownership moment dominated by streaming services. As a result, the twenty-first century finds us on a new horizon with regard to the vanguard of contemporary production and performance. This course will allow participants the opportunity to explore new ways of approaching technology relative to their production effects, teasing out fresh sounds with the latest advances in new studio effects and techniques. From there, students will have the opportunity to explore the cannon of cutting-edge contemporary performance, from the avant garde foundations of the twentieth century expressions in theatre, performance, and music, to the latest advances in current popular performance presentation. There are two halves to the course. During the first half of the course, led by instructor Robert Lippok, students will strive to produce original music that draws on a long history of experimental studio practices and techniques. Technological progress pushed musical production to new limits since the very early days of recorded music in the beginning of the 20s century. An unconventional and “misuse“ of those technologies by studio engineers and musicians has been a strong and essential element in popular music making. During the course, students will learn about different approaches to sonic experimentation and ways to use these experimental methods in a studio environment. Students will learn how experimentation and chance can help them find their own musical language. Learning about distortion, drum re-looping, chopping, layering sound, compression, virtual acoustics, psycho acoustics, destructive and non destructive editing, filtering, reverberation and more will encourage the students to trust in they own creative path and to give ideas and inspiration who this path could be a part of the future of pop music. The second half of the course, led by instructor Christina Wheeler, focuses on performance: students will work with their instructor to find creative and experimental ways to stage their original music, taking into consideration immersive performance, and the incorporation of cutting-edge electronics and live visuals. Students will have the opportunity to incorporate emergent technology into their performance, conceptualize their presentations, contextualize their performance pieces in larger narrative arcs that create and cohesive story for their songs, explore including visual elements through live video manipulation of appropriate found imagery. The course will conclude with a final concert performance that demonstrates key practices that have been investigated throughout the course of the semester. The semester will end with a final concert at a Berlin-based music venue. This course is appropriate for students who already have some studio production experience, as well as performers who are ready to start conceptually structuring their performances as well as incorporating cutting-edge, live electronics and live video. Course Objectives 1. To break students out of habits and routine, to encourage them to take artistic and creative risks as they work individually and collaboratively. This course value instinct over technique and encourages students to rely on their innate curiosity. 2 2. To deconstruct, and to offer radical alternatives, to the ideal of commercial (and sometimes cynical) “hit-making;” to encourage the idea(l) of music as an art form rather than exclusively a form of commercial entertainment. During the course, students will learn to deconstruct the idea of the perfect audio image by beginning to think about sound as an unstable art form. 3. To encourage students to become more successful performers by introducing the practice of incorporating electronics into live performance (including effects processing, audio looping, field recording, and live mixing); and to help students conceive of their performance as a conceptual narrative in which to place an aggregate of songs into a contextual arc that connects the songs and creates a larger, dramatic world in which to perform and convey that story performatively. 4. To introduce students to the history of experimental/avant-garde composing, recording and performance (which may include performers like Sun Ra, Stockhausen, Cage, La Monte Young, Grace Jones, David Bowie, Alva Noto, Einstürzende Neubauten, Björk, Mr Oizo, Look Mom No Computer, Holly Herndon and others) and to put that experimental history of experimental/avant-garde composing, recording and performance into practice; 5. To help students develop the tools and methods necessary for making experimental compositions, recordings and performances; to encourage students to learn how experimentation can be essential to their recording and performance routines. Assessment Components Your final grade will be determined by your attendance, class participation, success at completing your weekly assignments, and your prompt and successful completion of your final project with proper documentation. Grades for the semester will be broken down as follows: 1. Class Participation / Attendance – 10% Attendance is required. Unexcused Absences will affect your final grade. Three unexcused absences will result in an F. • Religious and personal excused absences must be requested beforehand. • Absences due to sickness will be excused with a written note. • The student is required email or text teacher before class begins. • Participation is required. Unexcused absences will be reflected in grade. • Three (3) late arrivals will count as one (1) unexcused absence. • Any unexcused lateness greater that 15 minutes will constitute an unexcused absence. • If a student has more than three (3) unexcused absences they will not be allowed to perform in final concert. • Assignments are due at the beginning of class. Late assignments will not be accepted. 2. Ability to Incorporate Critique and Pursue Forward Momentum. You will need to demonstrate improvement over the course of semester and complete various small assignments – 5% 3. Assignments (for Production half / Robert Lippok only) – 20% Each week, students will have an outside of class assignment to execute, including: 3 practicing different recording and mixing techniques, experiment with different sound sources, practicing beat programming, beat manipulation, creating a unique sample library out found objects, learn different way of manipulating voices, learn about modular synthesis ( software and hardware ) and how to integrate a modular synthesizer into a recording environment; to document the work, trying different setups of gear in a studio environment, transfer a pre- recorded track into a live performance. Revisiting the work, reflect on the process and on how different methods of production enable us to find a personal musical language. a. Assignment 1 - 5% b. Assignment 2 - 5% c. Assignment 3 - 5% d. Assignment 4 - 5% Students enrolled in the course receive a set number of hours for their production assignments. Please see student handbook for detailed information about these hours and how and when to reserve them. 4. FINAL ASSIGNMENT FOR PRODUCTION HALF OF COURSE - 20% 1. Either working individually (you will have nine (9) hours of allotted time) or in duos (you effectively double your time by pairing up), produce up to three (3) tracks which present your interpretation of future pop music using experimental methods you have
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