Performance & Music

This class is an invitation to explore writing for theater, film, and television by creating ten scripts over the 10-week term. Edward Albee told Andrea that a play is as long as it is. To that end, like a short story, the short form allows for the creation of numerous stories, testing of form and structure, experimentation, failure, and success. Scripts can range from 1 page to 10 pages or longer if need be. This writing workshop will be fast-paced and inquiry-driven. We will use class time to do writing exercises, ask and answer questions, discuss the craft of scriptwriting, and share and critique our own and one another’s work. Students will be expected to create ten scripts, re-draft 5 of those scripts, and select their favorite script to further refine and finalize as their final project.

Evaluation is based on the quality of written work and participation in class discussions. Work will be evaluated for quality, engagement, effectiveness, on-time delivery, and commitment to the workshop collective. Students are expected to bring in new plays each week and to contribute their best work to an end-of-class public reading.

This course is geared toward students with or without performance experience. Together we will establish a common language to define the most important tools for an actor. Through a series of games and exercises, students develop new skills and practice making bolder, clearer choices within improvised, devised or established scenes. The goals are to create confidence in any sort of performance situation and to find ways of applying acting skills to other academic and outside experiences. Evaluation is based on participation in class activities and discussion, successful completion of all performance projects, including productive rehearsal time and an organized portfolio of written responses. There will be at least one field trip. Default grading option for this course is CR/NC.

This course will look closely at a small selection of plays adapted from other works. At its core this is a dramaturgical practice and methods course. Students will investigate impulses and processes for re-envisioning, re-working, re-purposing another’s text. We will read and discuss some theories of adaptation (mostly, but not exclusively, as they pertain to collaborative art making practices) as well as a sampling of contemporary criticism. A central goal of the course will be to better understand how the term adaptation is understood across disciplines and to fuel a complex discussion about what might make a theatrical adaptation feel relevant or effective in a given context. We will also look closely at moments in history that have instigated a serious ‘looking back’, spurring a collective creative impulse to re-visit and re-invent previously established works. One could argue that we are currently living in such a cultural moment. Please note: this course requires a significant reading load. Students will be required to close read/view all adapted texts, all original source materials and a variety of supporting texts (as described above). We will also draw from film, visual art and music for this study. Evaluation will be based on a sequence of short practical assignments and demonstrated engagement with the course materials through live discussion and a shared class blog.

In Advanced Samba Percussion Ensemble, we will focus on developing a repertoire of percussion music based in two Brazilian music traditions: Samba Reggae from the city of Salvador de Bahia and Samba Batucada, an instrumental substyle of Samba music originating in Rio de Janeiro. This class builds on the work undertaken in Samba Percussion Ensemble by exploring additional styles, developing more complex arrangements, and building a wider repertoire. Along the way, students will cultivate skills in percussion performance, physical coordination, formal memorization, functional notation strategies, and rhythmic awareness. At the same time, we will learn about the social history of Samba music through reading, screening, listening, and discussion. These twin endeavors are mutually enriching and are designed to contribute towards a more robust and holistic model of cross-cultural musical learning.

This term, we will be joined on campus by guest artist Caique Vidal, a percussionist born and raised in Salvador, Bahia, for a series of workshops and a final performance at the end of the term.

Advances Samba Percussion Ensemble is open to students who have taken Samba Percussion Ensemble or by special permission. Please contact Jonathan if you have not taken the intro class but want to be considered for the advanced class. The first class session of the week will typically be split between rehearsal and listening/discussion/instruction. The second class session of the week will be reserved just for rehearsal. Students will be assessed based on their participation in class learning and discussion, practice outside of class time, and the completion of assignments.

This will be a “soup to nuts” course in audio journalism geared towards the beginner. In this class we will detail: how to record and edit audio; interviewing techniques; writing for broadcast; how to voice a script—all leading to the creation of an NPR style piece. This is very much a journalism class. Through a series of ever more challenging assignments – both individual and with a partner; in class and out – students will not only acquire the expertise to produce a compelling radio piece, but come to understand the ethics of audio journalism. The format for the course will be a hands-on workshop with a heavy workload of reporting assignments that we will critique together in review sessions. A significant amount of a student’s time outside of class will be dedicated to reporting stories, editing audio and writing scripts followed by individual edit sessions with the instructor. We will also be hearing from a number of noted journalists who will Zoom into the class on a broad range of topics. Students will be evaluated on their timely completion of assignments, overall improvement, their constructive engagement with group critique sessions and Zoom guest speakers, and their follow-up on edit suggestions from the instructor. This class is open to all students interested in journalism and audio production. There are no prerequisites, though prior experience in journalism, narrative writing or audio recording and production is helpful.

In 1979, the music producer Brian Eno argued that the recording studio is a “compositional tool,” upending the idea that the recording studio exists to document pre-existing musical compositions. His assertion came on the back of pivotal albums such as The Beatles’ “Revolver” and The Beach Boys’ “Pet Sounds” (1966), which demonstrated the creative possibilities of composing in the studio. We might call this type of approach to music composition “playing the studio.” In this course, students learn how music production makes use of editing, mixing, and effect processing to maximize its impact. Through readings, film screenings, and audio listening sessions, students learn about past and present studio techniques and use these techniques during audio projects and exercises. Students learn to use virtual instruments, effect processors, microphones, and COA’s recording studio to strengthen their technical audio recording, editing, and mixing skills. Students will be evaluated based on their participation in class discussions, their fluency in the use of recording equipment and software, the process they use to approach each assignment, and the completion of assigned projects. No prerequisites or sound/music experience is required.

How do you use sound and story to build tension and hold attention? In this course, students will explore longform narrative storytelling using sound as their medium. Through reading and listening assignments, students will develop skills to identify narrative devices, critique story structure, and gain inspiration about the possibilities of sound as a narrative tool. Students can expect to complete short exercises and prompts at the beginning of term, aimed at developing story outlines and experimenting with story structure. We will discuss how to develop a longform story from an idea to a fully-realized production; whether working in fiction or non-fiction, students will hone research skills and draw from multiple sources of inspiration for their work. This course will focus heavily on writing and scripting, and integrating sound design with storytelling. Students will produce one longform audio story by the end of term, this story can be a work of fiction, non-fiction, or it can blur the lines between the two. This class is an opportunity for students to stretch audio and storytelling muscles and to experiment with form to create a polished 20-minute audio story. Students can expect a highly collaborative and supportive class atmosphere; we will use class time for workshopping, critique, and collaboration as well as class discussion.

Students will be evaluated based on their participation in class discussions, their preparedness with assigned materials, and their commitment and completion of exercises and a longform narrative audio story. This class will require independent work; students should be prepared to record, write, and edit audio outside of class time.

In this introductory level course, we’ll work to develop a movement practice that centers both self care and togetherness. This class will draw on a variety of contemporary practitioners and methods, relying on somatosensory feedback to access availability, spaciousness, presence and pleasure both individually and collectively. Students will investigate basic patterns of choreography, experimenting with principles of velocity and momentum and exploring personal and shared movement impulses. Assigned readings, screenings, and writing assignments will complement and support our physical practice. Students will be evaluated based on attendance, successful completion of assigned work, depth of engagement during class and with course materials, and the expansion of their individual movement capacities. All class meetings will take place in-person and on campus. Participants of diverse abilities, needs, and backgrounds are encouraged to enroll. Dance experience is welcomed, but not necessary.

In Black Atlantic Music students will work to understand how histories of slavery, colonialism, diasporic imagination, and networks of cultural exchange form the basis for popular music in the African diaspora. Tracing musical and political histories through a series of case studies routed throughout the diaspora, this course aims to develop a theory of “the Black Atlantic” as a sonic geography. After establishing a foundation in the key historical forces leading to the creation of the African diaspora, students will explore case studies related to the development of local and transnational musical styles from salsa to hip-hop, funk, reggae and more. We will explore the intersecting work of artists (such as Janelle Monae, Angélique Kidjo, Fela Kuti, Lee “Scratch” Perry, and Bob Marley) and scholars (such as Paul Gilroy, Angela Davis, Amiri Baraka, and Michael Veal). Equal weight in the course will be given to reading, listening, and writing as valuable modes of interacting with music. Throughout the course of the term, students will learn to listen more closely to sound and to develop a critical capacity for relating these sounds to the political and social worlds from which they emerge. Turning our attention back and forth between the local and the transnational, Black Atlantic Music is a window into how music takes shape in the context of culture, politics, geography and history. Evaluations will be based on regular written responses, a final project, and participation in class discussions and activities.

In this intermediate-level dance course, we will work as an ensemble of movers to build improvisational scores, deepen our sense of listening, and think critically about improvisation as a practice of choice-making, communication, and resilience. Each class session will take the form of an ensemble rehearsal, beginning with a gentle warm-up that drops dancers into their sensory awareness. Once we are prepared to move safely, we will experiment with scores and prompts that generate movement and debrief our experiences through writing, drawing, and discussion. Opportunities will be provided to explore more specific microcosms of dance improvisation including musical collaborations, Contact Improvisation, and Emergent Improvisation. Short readings and video screenings will complement our embodied learning. We will develop an evening-length performance as our final project, to be performed on campus and at local schools. Students will be assessed based on attendance, participation in discussions, presence in rehearsals, and participation in our final performance.

In this performance-based class, students will work together to learn and perform traditional folk music, both in small groups and as a large ensemble. Styles will be guided by student interest and may include New England, Québécois, Cape Breton, Scottish, Irish, Old Time, Bluegrass, and others. Instrumentation may include (but is not limited to) fiddle, keyboard, guitar, banjo, mandolin, bouzouki, ukulele, dulcimer, bass, cello, accordion, concertina, pipes, flute, whistle, vocals, harp, and percussion. Tunes will primarily be taught “by ear,” although notation will be available as well. Throughout the term, students will play and interact with experienced folk music practitioners representing various styles and instruments. The class will include participation in informal local song sessions and will culminate in a final performance.

How will students in this course be evaluated?: Assessment of student work will be based on contributions to rehearsals and discussions, participation in sessions and performances, weekly reflections, and a research project on a tune of interest.

This class gives students an opportunity to investigate time-based art. 4-D art draws on the vast and varied traditions of theatre, dance, media, and music, often crossing boundaries to create hybrid works. This course will focus on concepts and processes related to representing and experiencing events that take place in time. Strategies for planning, proposing, and producing work individually or collaboratively will be discussed and practiced. Some class periods will be workshop in style, and include physical and vocal exercises and improvisations. The course will include basic instruction and use of video cameras and sound recording devices. A majority of the learning in this studio course will happen as students make projects and reflect on their work and the work of others. Documentation and information about contemporary and historic time-based art will be presented. Students will be evaluated based on imaginative exploration of ideas and materials, extent and depth of work processes and research, completion of assigned projects, and participation in class discussions.

This course is an intensive study of Shakespeare’s work from the point of view of the actor. Through text analysis, scene study, physical/vocal work and acting exercises, students explore the meaning, music and power in Shakespeare’s words while developing their own strategies for performing the play effectively for contemporary audiences. The bulk of the work involves learning, staging and presenting key monologues and scenes from the play for

continued critique and revision. Students gain a clear understanding of the context in which the play was written but primarily focus on contemporary connections and discourse as well as a wide variety of old and new adaptations. Evaluation is based on participation in all class activities, readings and discussion, successful completion of all performance projects including productive rehearsal time alone and in groups, a portfolio of written responses and effective engagement with the shared class blog. Work will happen both on and off campus and includes the possibility of at least one field trip. Due to the nature of the work, please note the extended class block schedule.

In this intermediate-level course we will form a medium-sized ensemble to rehearse and perform jazz music. Some prior experience with improvisation is required, as well as an ability to read music or to learn quickly by ear. Rehearsals will focus on playing with good time, intonation, feel, blend, while respecting various stylistic and historical elements of jazz. Emphasis will be placed on improvisation, which will be taught from the ground up with a focus on ear-training and harmony. There will be a concert performance toward the end of the term and there is the potential for additional off-campus performances and jam sessions. Students will be evaluated based on attendance, commitment to learning the material, successful completion of assigned work, and the expansion of improvisational ability. Participants of diverse abilities, needs, and backgrounds are encouraged to apply, including those who play non-traditional jazz instruments. This course is scheduled from 11:10-2:25 with a break for lunch. The second studio block will at times be used for small group work and other assignments as needed.

In this advanced art practicum and seminar, students will pursue the development of a body of art work or series of art works. Through practice, critique, discussion, readings, and interactions with artists and those involved in supporting and presenting artists, students will gain a better understanding of art as an ongoing pursuit, beyond classes and assignments. What does it take to maintain and fertilize the long-term project or a life’s work? How can a creative process be carried on, maintained and sustained? The primary goal of this course is for each student to develop their art practice, better understand their creative processes, and show evidence of these developments. This course is an excellent lead-up to a senior project in the arts. Students may work in any medium, but should already have the basic skills required for their chosen project(s)/body of work. This course requires significant dedication outside of class to make artworks. Students are expected to possess and/or extend their ability to be self-directed and motivated. Students will be evaluated on their progress towards their goals, and participation in discussions and critiques; students are encouraged to elect for a credit/no credit grade.