Shellac to Spotify: 100 Years of Recorded 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.