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ón a la Musicología ón a la Musicología

Description

El curso pretende una iniciación general a los campos y métodos de trabajo de la Musicología como disciplina científica. El curso pretende una iniciación general a los campos y métodos de trabajo de la Musicología como disciplina científica.

Subjects

Musica | Musica | Musicologia | Musicologia

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Composition and improvisation in cross-cultural perspective Composition and improvisation in cross-cultural perspective

Description

Improvisation and composition are words frequently used in the western world to describe the creation of music. But are they really two distinct processes, or are they aspects of the same phenomenon? In this free course, Composition and improvisation in cross-cultural perspective, we will explore the relationship between the two using examples of Asian music to help us clarify the concepts. First published on Fri, 15 Jan 2016 as Composition and improvisation in cross-cultural perspective. To find out more visit The Open University's Openlearn website. Creative-Commons 2016 Improvisation and composition are words frequently used in the western world to describe the creation of music. But are they really two distinct processes, or are they aspects of the same phenomenon? In this free course, Composition and improvisation in cross-cultural perspective, we will explore the relationship between the two using examples of Asian music to help us clarify the concepts. First published on Fri, 15 Jan 2016 as Composition and improvisation in cross-cultural perspective. To find out more visit The Open University's Openlearn website. Creative-Commons 2016

Subjects

Music | Music | India | India | AA302_1 | AA302_1

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21M.775 Hip Hop (MIT) 21M.775 Hip Hop (MIT)

Description

This course explores the political and aesthetic foundations of hip hop. It traces the musical, corporeal, visual, spoken word, and literary manifestations of hip hop over its thirty-five year presence in the American cultural imaginary. It also investigates specific black cultural practices that have given rise to its various idioms. Hip hop has invigorated the academy, inspiring scholarship rooted in black musical and literary traditions. This course assesses these sharp breaks and flamboyant versionings of hip hop that have occurred within the academy.RealOne™ is a trademark or a registered trademark of RealNetworks, Inc. This course explores the political and aesthetic foundations of hip hop. It traces the musical, corporeal, visual, spoken word, and literary manifestations of hip hop over its thirty-five year presence in the American cultural imaginary. It also investigates specific black cultural practices that have given rise to its various idioms. Hip hop has invigorated the academy, inspiring scholarship rooted in black musical and literary traditions. This course assesses these sharp breaks and flamboyant versionings of hip hop that have occurred within the academy.RealOne™ is a trademark or a registered trademark of RealNetworks, Inc.

Subjects

Hip Hop | Hip Hop | Dance | Dance | Rap | Rap | Black | Black | visual culture | visual culture | Music | Music | African | African | American | American | history | history | literature | literature | sexuality | sexuality | mysogyny | mysogyny | feminism | feminism | performance | performance | electronic music | electronic music | activism | activism | politics | politics | consumerism | consumerism | race | race | artist | artist | political | political | aesthetic | aesthetic | musical | musical | corporeal | corporeal | visual | visual | spoken word | spoken word | literary | literary | American cultural imagery | American cultural imagery | African American | African American | cultural practices | cultural practices | material culture | material culture | performance studio | performance studio | hip hop style | hip hop style | rapping | rapping | break | break | breaking | breaking | beats | beats | dj | dj | dee jay | dee jay | turntables | turntables | mic | mic | mc | mc | graffiti | graffiti | fashion | fashion | sex | sex | feminist | feminist | electronica | electronica | mediated performance | mediated performance | anarchy | anarchy | commodity fetishism | commodity fetishism | globalization | globalization | whiteness | whiteness | realness | realness | journalism | journalism | criticism | criticism | autobiography | autobiography | black | black

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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Reception of music in cross-cultural perspective Reception of music in cross-cultural perspective

Description

Music is created to be performed, in most cases for an audience, whether in a concert hall, at a street fair or through a radio. But how those listeners receive a piece or style of music influences future music production. This free course, Reception of music in cross-cultural perspective, explores how audience reception, changing social situations and technology impact musical performance. First published on Wed, 27 Jan 2016 as Reception of music in cross-cultural perspective. To find out more visit The Open University's Openlearn website. Creative-Commons 2016 Music is created to be performed, in most cases for an audience, whether in a concert hall, at a street fair or through a radio. But how those listeners receive a piece or style of music influences future music production. This free course, Reception of music in cross-cultural perspective, explores how audience reception, changing social situations and technology impact musical performance. First published on Wed, 27 Jan 2016 as Reception of music in cross-cultural perspective. To find out more visit The Open University's Openlearn website. Creative-Commons 2016

Subjects

Music | Music | AA302_2 | AA302_2

License

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An introduction to music theory An introduction to music theory

Description

Gain an understanding of the basic building blocks of musical theory and notation. This free course, An introduction to music theory, will introduce you to music staves, clefs, rhythmic and pitch values, rhythmic metre and time signatures. This OpenLearn course provides an introduction to music theory pitched at a level equivalent to Grades 1–3 of the Associated Board of the Royal Schools of Music theory exams. You can test your understanding as you proceed by completing simple multiple-choice questions. First published on Wed, 06 Jan 2016 as An introduction to music theory. To find out more visit The Open University's Openlearn website. Creative-Commons 2016 Gain an understanding of the basic building blocks of musical theory and notation. This free course, An introduction to music theory, will introduce you to music staves, clefs, rhythmic and pitch values, rhythmic metre and time signatures. This OpenLearn course provides an introduction to music theory pitched at a level equivalent to Grades 1–3 of the Associated Board of the Royal Schools of Music theory exams. You can test your understanding as you proceed by completing simple multiple-choice questions. First published on Wed, 06 Jan 2016 as An introduction to music theory. To find out more visit The Open University's Openlearn website. Creative-Commons 2016 First published on Wed, 06 Jan 2016 as An introduction to music theory. To find out more visit The Open University's Openlearn website. Creative-Commons 2016 First published on Wed, 06 Jan 2016 as An introduction to music theory. To find out more visit The Open University's Openlearn website. Creative-Commons 2016

Subjects

Music | Music | A224_1 | A224_1

License

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6.912 Introduction to Copyright Law (MIT) 6.912 Introduction to Copyright Law (MIT)

Description

Includes audio/video content: AV lectures. This course is an introduction to copyright law and American law in general. Topics covered include: structure of federal law; basics of legal research; legal citations; how to use LexisNexis®; the 1976 Copyright Act; copyright as applied to music, computers, broadcasting, and education; fair use; Napster®, Grokster®, and Peer-to-Peer file-sharing; Library Access to Music Project; The 1998 Digital Millennium Copyright Act; DVDs and encryption; software licensing; the GNU® General Public License and free software. Includes audio/video content: AV lectures. This course is an introduction to copyright law and American law in general. Topics covered include: structure of federal law; basics of legal research; legal citations; how to use LexisNexis®; the 1976 Copyright Act; copyright as applied to music, computers, broadcasting, and education; fair use; Napster®, Grokster®, and Peer-to-Peer file-sharing; Library Access to Music Project; The 1998 Digital Millennium Copyright Act; DVDs and encryption; software licensing; the GNU® General Public License and free software.

Subjects

opyright law | opyright law | american law structure of federal law | american law structure of federal law | legal research and citations | legal research and citations | Lexis-Nexis | Lexis-Nexis | 1976 Copyright Act | 1976 Copyright Act | copyright as applied to music | copyright as applied to music | computers | computers | broadcasting | broadcasting | and education | and education | fair use | fair use | Napster | Napster | Grokster | Grokster | and P2P file-sharing | and P2P file-sharing | Library Access to Music Project | Library Access to Music Project | The 1998 Digital Millennium Copyright Act | The 1998 Digital Millennium Copyright Act | DVDs and encryption | DVDs and encryption | Software licensing | Software licensing | The GNU General Public License | The GNU General Public License | free software | free software

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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Voice-leading analysis of music 3: the background Voice-leading analysis of music 3: the background

Description

The music of Mozart has been used to examine the foreground and middleground of harmony in free courses AA314_1 and AA314_2. In this free course, Voice-leading analysis of music 3: the background, you will use Beethoven's Eighth Symphony to consider the largest-scale stage of voice-leading analysis. First published on Mon, 08 Feb 2016 as Voice-leading analysis of music 3: the background. To find out more visit The Open University's Openlearn website. Creative-Commons 2016 The music of Mozart has been used to examine the foreground and middleground of harmony in free courses AA314_1 and AA314_2. In this free course, Voice-leading analysis of music 3: the background, you will use Beethoven's Eighth Symphony to consider the largest-scale stage of voice-leading analysis. First published on Mon, 08 Feb 2016 as Voice-leading analysis of music 3: the background. To find out more visit The Open University's Openlearn website. Creative-Commons 2016

Subjects

Music | Music | AA314_3 | AA314_3

License

Except for third party materials and otherwise stated (see http://www.open.ac.uk/conditions terms and conditions), this content is made available under a http://creativecommons.org/licenses/by-nc-sa/2.0/uk/ Creative Commons Attribution-NonCommercial-ShareAlike 2.0 Licence Licensed under a Creative Commons Attribution - NonCommercial-ShareAlike 2.0 Licence - see http://creativecommons.org/licenses/by-nc-sa/2.0/uk/ - Original copyright The Open University

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Voice-leading analysis of music 1: the foreground Voice-leading analysis of music 1: the foreground

Description

This free course, Voice-leading analysis of music 1: the foreground, introduces 'voice-leading' or 'Schenkerian' analysis, perhaps the most widely used and discussed method of analysing tonal music. In this course, this method is explained through the analysis of piano sonatas by Mozart. The course is the first in the AA314 series of three courses on this form of harmonic analysis, and concentrates on the 'foreground level' of voice leading. As you work through this course, you will become familiar with five complete movements of Mozart's piano sonatas, as well as shorter extracts from some of his other sonatas. First published on Fri, 05 Feb 2016 as Voice-leading analysis of music 1: the foreground. To find out more visit The Open University's Openlearn website. Creative-Commons 2 This free course, Voice-leading analysis of music 1: the foreground, introduces 'voice-leading' or 'Schenkerian' analysis, perhaps the most widely used and discussed method of analysing tonal music. In this course, this method is explained through the analysis of piano sonatas by Mozart. The course is the first in the AA314 series of three courses on this form of harmonic analysis, and concentrates on the 'foreground level' of voice leading. As you work through this course, you will become familiar with five complete movements of Mozart's piano sonatas, as well as shorter extracts from some of his other sonatas. First published on Fri, 05 Feb 2016 as Voice-leading analysis of music 1: the foreground. To find out more visit The Open University's Openlearn website. Creative-Commons 2

Subjects

Music | Music | AA314_1 | AA314_1

License

Except for third party materials and otherwise stated (see http://www.open.ac.uk/conditions terms and conditions), this content is made available under a http://creativecommons.org/licenses/by-nc-sa/2.0/uk/ Creative Commons Attribution-NonCommercial-ShareAlike 2.0 Licence Licensed under a Creative Commons Attribution - NonCommercial-ShareAlike 2.0 Licence - see http://creativecommons.org/licenses/by-nc-sa/2.0/uk/ - Original copyright The Open University

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Voice-leading analysis of music 2: the middleground Voice-leading analysis of music 2: the middleground

Description

This free course, Voice-leading analysis of music 2: the middleground, continues our examination of 'voice-leading' or 'Schenkerian' analysis, perhaps the most widely used and discussed method of analysing tonal music. In this course, this method is explained through the analysis of piano sonatas by Mozart. The course is the second in the AA314 series of three courses on this form of harmonic analysis, and concentrates on the 'middleground level' of voice leading. As you work through this course, you will become familiar with the deeper levels of harmony in Mozart's piano sonatas. First published on Fri, 05 Feb 2016 as Voice-leading analysis of music 2: the middleground. To find out more visit The Open University's Openlearn website. Creative-Commons 2016 This free course, Voice-leading analysis of music 2: the middleground, continues our examination of 'voice-leading' or 'Schenkerian' analysis, perhaps the most widely used and discussed method of analysing tonal music. In this course, this method is explained through the analysis of piano sonatas by Mozart. The course is the second in the AA314 series of three courses on this form of harmonic analysis, and concentrates on the 'middleground level' of voice leading. As you work through this course, you will become familiar with the deeper levels of harmony in Mozart's piano sonatas. First published on Fri, 05 Feb 2016 as Voice-leading analysis of music 2: the middleground. To find out more visit The Open University's Openlearn website. Creative-Commons 2016

Subjects

Music | Music | AA314_2 | AA314_2

License

Except for third party materials and otherwise stated (see http://www.open.ac.uk/conditions terms and conditions), this content is made available under a http://creativecommons.org/licenses/by-nc-sa/2.0/uk/ Creative Commons Attribution-NonCommercial-ShareAlike 2.0 Licence Licensed under a Creative Commons Attribution - NonCommercial-ShareAlike 2.0 Licence - see http://creativecommons.org/licenses/by-nc-sa/2.0/uk/ - Original copyright The Open University

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úsica y Educación Musical (2015) úsica y Educación Musical (2015)

Description

Esta asignatura contribuye al logro de competencias y proporciona contenidos de formación en torno a las disciplinas Música y Didáctica de la Expresión Musical. Junto a temas de interés relacionados con el hecho musical en su faceta cultural, social y educativa, se desarrollan contenidos y destrezas referidos a lenguaje musical, expresión vocal y canto, movimiento y danza, expresión instrumental y audición musical. La Educación Musical es de suma importancia pues favorece el desarrollo integral de la persona, siendo su influencia observable en los campos cognitivo (desarrollando el intelecto, las capacidades de abstracción y resolución de problemas y las capacidades imaginativa y creadora), afectivo (siendo especialmente transmisora de mensajes afectivos, desarrollando la sensib Esta asignatura contribuye al logro de competencias y proporciona contenidos de formación en torno a las disciplinas Música y Didáctica de la Expresión Musical. Junto a temas de interés relacionados con el hecho musical en su faceta cultural, social y educativa, se desarrollan contenidos y destrezas referidos a lenguaje musical, expresión vocal y canto, movimiento y danza, expresión instrumental y audición musical. La Educación Musical es de suma importancia pues favorece el desarrollo integral de la persona, siendo su influencia observable en los campos cognitivo (desarrollando el intelecto, las capacidades de abstracción y resolución de problemas y las capacidades imaginativa y creadora), afectivo (siendo especialmente transmisora de mensajes afectivos, desarrollando la sensib

Subjects

úsica | úsica | Ritmo | Ritmo | ía | ía | Frase musical | Frase musical | áctica de la Expresión Musical | áctica de la Expresión Musical

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http://creativecommons.org/licenses/by-nc-sa/3.0/

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Music and its media Music and its media

Description

This free course, Music and its media, examines some of the main ways in which music is transmitted. It considers how the means of communicating a particular piece can change over time; and how the appearance and contents of a source can reflect the circumstances in which it is produced. The course focuses on three examples of musical media that allow us to study music of the past: manuscripts of sixteenth-century Belgium, prints of eighteenth-century London, and recordings of twentieth-century America. First published on Tue, 08 Mar 2016 as Music and its media. To find out more visit The Open University's Openlearn website. Creative-Commons 2016 This free course, Music and its media, examines some of the main ways in which music is transmitted. It considers how the means of communicating a particular piece can change over time; and how the appearance and contents of a source can reflect the circumstances in which it is produced. The course focuses on three examples of musical media that allow us to study music of the past: manuscripts of sixteenth-century Belgium, prints of eighteenth-century London, and recordings of twentieth-century America. First published on Tue, 08 Mar 2016 as Music and its media. To find out more visit The Open University's Openlearn website. Creative-Commons 2016

Subjects

Culture | Culture | Music | Music | A342_1 | A342_1 | music transition | music transition | mediation | mediation | manuscripts | manuscripts | printing | printing | publishing | publishing | recording | recording | oral transmission | oral transmission

License

Except for third party materials and otherwise stated (see http://www.open.ac.uk/conditions terms and conditions), this content is made available under a http://creativecommons.org/licenses/by-nc-sa/2.0/uk/ Creative Commons Attribution-NonCommercial-ShareAlike 2.0 Licence Licensed under a Creative Commons Attribution - NonCommercial-ShareAlike 2.0 Licence - see http://creativecommons.org/licenses/by-nc-sa/2.0/uk/ - Original copyright The Open University

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úsica en la Historia del arte (2014) úsica en la Historia del arte (2014)

Description

El objetivo fundamental de esta asignatura es conseguir la competencia necesaria para enfrentarse a la audición de una obra musical de un período determinado y ser capaz de llevar a cabo un análisis y un juicio crítico sobre la misma, estableciendo una relación con las demás manifestaciones artísticas de ese período. Para ello, se emplea una metodología activa, basada en la audición de obras musicales. Básicamente se trata de situar el hecho artístico musical en una perspectiva diacrónica, lo que implica: La delimitación de las principales secuencias del proceso de transformación del hecho musical en dicha perspectiva y de los rasgos estilísticos que las definen, en relación con las demás manifestaciones artísticas. El conocimiento de las formas discursivas prop El objetivo fundamental de esta asignatura es conseguir la competencia necesaria para enfrentarse a la audición de una obra musical de un período determinado y ser capaz de llevar a cabo un análisis y un juicio crítico sobre la misma, estableciendo una relación con las demás manifestaciones artísticas de ese período. Para ello, se emplea una metodología activa, basada en la audición de obras musicales. Básicamente se trata de situar el hecho artístico musical en una perspectiva diacrónica, lo que implica: La delimitación de las principales secuencias del proceso de transformación del hecho musical en dicha perspectiva y de los rasgos estilísticos que las definen, en relación con las demás manifestaciones artísticas. El conocimiento de las formas discursivas prop

Subjects

úsica | úsica | úsica y Musicología | úsica y Musicología | ía | ía | Expresionismo | Expresionismo | Serialismo | Serialismo | üedad | üedad | Nacionalismo | Nacionalismo | Edad Media | Edad Media | Clasicismo | Clasicismo | Barroco | Barroco | Dodecafonismo | Dodecafonismo | arte | arte | Neoclasicismo | Neoclasicismo | Renacimiento | Renacimiento | Romanticismo | Romanticismo | Historia del Arte | Historia del Arte | Vanguardia | Vanguardia | Impresionismo | Impresionismo

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21M.775 Hip Hop (MIT) 21M.775 Hip Hop (MIT)

Description

This class explores the political and aesthetic foundations of hip hop. Students trace the musical, corporeal, visual, spoken word, and literary manifestations of hip hop over its 30 year presence in the American cultural imagery. Students also investigate specific black cultural practices that have given rise to its various idioms. Students create material culture related to each thematic section of the course. Scheduled work in performance studio helps students understand how hip hop is created and assessed. This class explores the political and aesthetic foundations of hip hop. Students trace the musical, corporeal, visual, spoken word, and literary manifestations of hip hop over its 30 year presence in the American cultural imagery. Students also investigate specific black cultural practices that have given rise to its various idioms. Students create material culture related to each thematic section of the course. Scheduled work in performance studio helps students understand how hip hop is created and assessed.

Subjects

Hip Hop | Hip Hop | Dance | Dance | Rap | Rap | Black | Black | breaking | breaking | visual culture | visual culture | Music | Music | African | African | American | American | African-American | African-American | world music | world music | DJ | DJ | history | history | literature | literature | sexuality | sexuality | misogyny | misogyny | feminism | feminism | performance | performance | electronic music | electronic music | activism | activism | politics | politics | consumerism | consumerism | race | race | artist | artist | racism | racism | turntablism | turntablism | gangsta | gangsta | gangster | gangster | beats | beats | graffiti | graffiti | fashion | fashion | popular culture | popular culture | urban | urban | authenticity | authenticity

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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21M.301 Harmony and Counterpoint I (MIT) 21M.301 Harmony and Counterpoint I (MIT)

Description

In this subject we will study the basic harmonic, melodic, and formal practices of western music, principally the classical music of central Europe during the eighteenth century. Topics will include diatonic harmony, simple counterpoint in two parts, and tones of figuration. The coursework will combine composition, listening, analysis, and work in sight-singing and keyboard musicianship. In this subject we will study the basic harmonic, melodic, and formal practices of western music, principally the classical music of central Europe during the eighteenth century. Topics will include diatonic harmony, simple counterpoint in two parts, and tones of figuration. The coursework will combine composition, listening, analysis, and work in sight-singing and keyboard musicianship.

Subjects

Music | Music | harmony | harmony | counterpoint | counterpoint | melody | melody | formal practices | formal practices | western music | western music | classical music | classical music | central Europe | central Europe | eighteenth century | eighteenth century | diatonic harmony | diatonic harmony | tow parts | tow parts | tones of figuration | tones of figuration | composition | composition | listening | listening | analysis | analysis | sight-singing | sight-singing | keyboard musicianship | keyboard musicianship

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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21M.380 Music and Technology: Live Electronics Performance Practices (MIT) 21M.380 Music and Technology: Live Electronics Performance Practices (MIT)

Description

Includes audio/video content: AV special element video, AV special element audio. This course is a creative, hands-on exploration of contemporary and historical approaches to live electronics performance and improvisation, including basic analog instrument design, computer synthesis programming, and hardware and software interface design. Includes audio/video content: AV special element video, AV special element audio. This course is a creative, hands-on exploration of contemporary and historical approaches to live electronics performance and improvisation, including basic analog instrument design, computer synthesis programming, and hardware and software interface design.

Subjects

Music composition | Music composition | music history | music history | computer music | computer music | music performance | music performance | electronic music | electronic music | contemporary music | contemporary music | music synthesis | music synthesis | improvisation | improvisation | analog electronics | analog electronics | live electronic music | live electronic music | electroacoustic improvisation | electroacoustic improvisation

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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21M.380 Music and Technology: Algorithmic and Generative Music (MIT) 21M.380 Music and Technology: Algorithmic and Generative Music (MIT)

Description

Includes audio/video content: AV special element audio. This course examines the history, techniques, and aesthetics of mechanical and computer-aided approaches to algorithmic music composition and generative music systems. Through creative hands-on projects, readings, listening assignments, and lectures, students will explore a variety of historical and contemporary approaches. Diverse tools and systems will be employed, including applications in Python, MIDI, Csound, SuperCollider, and Pure Data. Includes audio/video content: AV special element audio. This course examines the history, techniques, and aesthetics of mechanical and computer-aided approaches to algorithmic music composition and generative music systems. Through creative hands-on projects, readings, listening assignments, and lectures, students will explore a variety of historical and contemporary approaches. Diverse tools and systems will be employed, including applications in Python, MIDI, Csound, SuperCollider, and Pure Data.

Subjects

Music composition | Music composition | music history | music history | music aesthetics | music aesthetics | algorithmic composition | algorithmic composition | generative music | generative music | computer music | computer music | electronic music | electronic music | contemporary music | contemporary music | music synthesis | music synthesis

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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Voice-leading analysis of music 2: the middleground

Description

This free course continues our examination of 'voice-leading' or 'Schenkerian' analysis perhaps the most widely used and discussed method of analysing tonal music. In this course this method is explained through the analysis of piano sonatas by Mozart. The course is the second in the AA314 series of three courses on this form of harmonic analysis and concentrates on the 'middleground level' of voice leading. As you work through this course you will become familiar with the deeper levels of harmony in Mozart's piano sonatas.

Subjects

Music | AA314_2

License

Except for third party materials and otherwise stated in the acknowledgement section (see our terms and conditions http://www.open.ac.uk/conditions) this content is made available under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 Licence. - http://creativecommons.org/licenses/by-nc-sa/4.0 Except for third party materials and otherwise stated in the acknowledgement section (see our terms and conditions http://www.open.ac.uk/conditions) this content is made available under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 Licence. - http://creativecommons.org/licenses/by-nc-sa/4.0

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Voice-leading analysis of music 1: the foreground

Description

This free course introduces 'voice-leading' or 'Schenkerian' analysis perhaps the most widely used and discussed method of analysing tonal music. In this course this method is explained through the analysis of piano sonatas by Mozart. The course is the first in the AA314 series of three courses on this form of harmonic analysis and concentrates on the 'foreground level' of voice leading. As you work through this course you will become familiar with five complete movements of Mozart's piano sonatas as well as shorter extracts from some of his other sonatas.

Subjects

Music | AA314_1

License

Except for third party materials and otherwise stated in the acknowledgement section (see our terms and conditions http://www.open.ac.uk/conditions) this content is made available under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 Licence. - http://creativecommons.org/licenses/by-nc-sa/4.0 Except for third party materials and otherwise stated in the acknowledgement section (see our terms and conditions http://www.open.ac.uk/conditions) this content is made available under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 Licence. - http://creativecommons.org/licenses/by-nc-sa/4.0

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6.912 Introduction to Copyright Law (MIT)

Description

This course is an introduction to copyright law and American law in general. Topics covered include: structure of federal law; basics of legal research; legal citations; how to use LexisNexis®; the 1976 Copyright Act; copyright as applied to music, computers, broadcasting, and education; fair use; Napster®, Grokster®, and Peer-to-Peer file-sharing; Library Access to Music Project; The 1998 Digital Millennium Copyright Act; DVDs and encryption; software licensing; the GNU® General Public License and free software.

Subjects

copyright law | american law structure of federal law | legal research and citations | Lexis-Nexis | 1976 Copyright Act | copyright as applied to music | computers | broadcasting | and education | fair use | Napster | Grokster | and P2P file-sharing | Library Access to Music Project | The 1998 Digital Millennium Copyright Act | DVDs and encryption | Software licensing | The GNU General Public License | free software

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htm

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Teaching secondary music

Description

This free course will identify and explore some of the key issues around teaching music in secondary schools. Through coming to understand these issues and debates

Subjects

Education | Professional Development in Education | Teacher Training | EXN885_1 | music | music education | music teacher professional development | Music knowledge and value | music pedagogy

License

Except for third party materials and otherwise stated in the acknowledgement section (see our terms and conditions http://www.open.ac.uk/conditions) this content is made available under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 Licence. - http://creativecommons.org/licenses/by-nc-sa/4.0 Except for third party materials and otherwise stated in the acknowledgement section (see our terms and conditions http://www.open.ac.uk/conditions) this content is made available under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 Licence. - http://creativecommons.org/licenses/by-nc-sa/4.0

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Assessment in secondary music

Description

This free course will identify and explore some of the key issues around assessing music in secondary schools. Through coming to understand these issues and debates

Subjects

Education | Professional Development in Education | Teacher Training | EXN885_2 | music | music and assessment | music teacher professional development | Music knowledge and value | music pedagogy

License

Except for third party materials and otherwise stated in the acknowledgement section (see our terms and conditions http://www.open.ac.uk/conditions) this content is made available under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 Licence. - http://creativecommons.org/licenses/by-nc-sa/4.0 Except for third party materials and otherwise stated in the acknowledgement section (see our terms and conditions http://www.open.ac.uk/conditions) this content is made available under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 Licence. - http://creativecommons.org/licenses/by-nc-sa/4.0

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Prof. Nick Childs - 'History of Brass Bands - The Golden Period'

Description

The repertoire played by bands has altered radically over many years. However, commissioning bodies have always been governed by a desire to attract the leading mainstream composers of the day to write original material for the medium. The so-called 'Golden Period', spanning the period between the Great Depression and the Second World War, encapsulates this ambition at its most successful. A sequence of seminal works, by John Ireland, Gustav Holst, Granville Bantock, Herbert Howells, and Sir Edward Elgar revitalised the repertory and placed amateur musicians in a place of honour within the British musical establishment. In an illustrated lecture, Prof. Nicholas Childs and the Black Dyke Band place this music in its wider context, from the production of the first original band composition

Subjects

ukoer | brass band | black dyke band | compositions | music history | Dance | Drama and Music | Creative Arts and Design | design | W000

License

Attribution-Noncommercial-Share Alike 2.0 UK: England & Wales Attribution-Noncommercial-Share Alike 2.0 UK: England & Wales http://creativecommons.org/licenses/by-nc-sa/2.0/uk/ http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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Ray Russell Inaugural Lecture "A life in music..."

Description

Visiting Professor, Ray Russell delivered his inaugural lecture on Thursday 25 March in Gandhi Hall. Ray's lecture, entitled 'A Life in Music' covered highlights from his 40-year career in the music industry ranging from his first professional job with the John Barry Seven to working with Tina Turner and on classic television theme tunes including Bergerac and A Touch of Frost. The lecture was delivered in a unique format that saw Ray backed by a band including his sons, Charlie and George, on bass and drums and his friend, Geoff Castle, on keyboards, to perform various pieces from throughout Ray's career. Ray's warm and humorous delivery was full of interesting and funny anecdotes and the audience of students, staff and industry guests thoroughly enjoyed the evening.

Subjects

ukoer | music industry | Dance | Drama and Music | Creative Arts and Design | design | W000

License

Attribution-Noncommercial-Share Alike 2.0 UK: England & Wales Attribution-Noncommercial-Share Alike 2.0 UK: England & Wales http://creativecommons.org/licenses/by-nc-sa/2.0/uk/ http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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Teaching secondary music

Description

This free course, Teaching secondary music, will identify and explore some of the key issues around teaching music in secondary schools. Through coming to understand these issues and debates, you will reflect on and develop your practice as a music teacher and develop a greater awareness of the wider context of music education and how this affects music in the secondary school curriculum. First published on Wed, 22 Jun 2016 as Teaching secondary music. To find out more visit The Open University's Openlearn website. Creative-Commons 2016

Subjects

Education & Development | Education Careers | EXN885_1 | music | music education | music teacher professional development | Music knowledge and value | music pedagogy

License

Licensed under a Creative Commons Attribution - NonCommercial-ShareAlike 2.0 Licence - see http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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Assessment in secondary music

Description

This free course, Assessment in secondary music, will identify and explore some of the key issues around assessing music in secondary schools. Through coming to understand these issues and debates, you will reflect on and develop your assessment practice as a music teacher and develop a greater awareness of the implications of assessment practice on pedagogy and what is considered to be of musical value in music education. First published on Wed, 22 Jun 2016 as Assessment in secondary music. To find out more visit The Open University's Openlearn website. Creative-Commons 2016

Subjects

Education & Development | Education Careers | EXN885_2 | music | music and assessment | music teacher professional development | Music knowledge and value | music pedagogy

License

Licensed under a Creative Commons Attribution - NonCommercial-ShareAlike 2.0 Licence - see http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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