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21M.065 Introduction to Musical Composition (MIT) 21M.065 Introduction to Musical Composition (MIT)

Description

Through a progressive series of composition projects, students investigate the sonic organization of musical works and performances, focusing on fundamental questions of unity and variety. Aesthetic issues are considered in the pragmatic context of the instructions that composers provide to achieve a desired musical result, whether these instructions are notated in prose, as graphic images, or in symbolic notation. No formal training is required. Weekly listening, reading, and composition assignments draw on a broad range of musical styles and intellectual traditions, from various cultures and historical periods. Through a progressive series of composition projects, students investigate the sonic organization of musical works and performances, focusing on fundamental questions of unity and variety. Aesthetic issues are considered in the pragmatic context of the instructions that composers provide to achieve a desired musical result, whether these instructions are notated in prose, as graphic images, or in symbolic notation. No formal training is required. Weekly listening, reading, and composition assignments draw on a broad range of musical styles and intellectual traditions, from various cultures and historical periods.

Subjects

form | form | structure | structure | notation | notation | musical score | musical score | composer | composer | composing | composing | music history | music history | deep listening | deep listening | sound | sound | soundwalk | soundwalk | instrument building | instrument building | contemporary music | contemporary music | avant-garde music | avant-garde music | experimental music | experimental music | graphic score | graphic score | Musique Concrete | Musique Concrete | vocal music | vocal music

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.351 Music Composition (MIT) 21M.351 Music Composition (MIT)

Description

Includes audio/video content: AV special element audio. This course features directed composition of larger forms of original writing involving voices and/or instruments. It includes a weekly seminar in composition for the presentation and discussion of work in progress. Students are expected to produce at least one substantive work, performed in public, by the end of the term. Contemporary compositions and major works from 20th-century music literature are studied. Includes audio/video content: AV special element audio. This course features directed composition of larger forms of original writing involving voices and/or instruments. It includes a weekly seminar in composition for the presentation and discussion of work in progress. Students are expected to produce at least one substantive work, performed in public, by the end of the term. Contemporary compositions and major works from 20th-century music literature are studied.

Subjects

classical music | classical music | composer | composer | contemporary music | contemporary music | 20th century music | 20th century music | chamber music | chamber music | atonal | atonal | post-tonal | post-tonal | avant-garde music | avant-garde music | orchestration | orchestration | art song | art song | song | song

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.361 Composing with Computers I (Electronic Music Composition) (MIT) 21M.361 Composing with Computers I (Electronic Music Composition) (MIT)

Description

Includes audio/video content: AV special element audio. This class explores sound and what can be done with it. Sources are recorded from students' surroundings - sampled and electronically generated (both analog and digital). Assignments include composing with the sampled sounds, feedback, and noise, using digital signal processing (DSP), convolution, algorithms, and simple mixing. The class focuses on sonic and compositional aspects rather than technology, math, or acoustics, though these are examined in varying detail. Students complete weekly composition and listening assignments; material for the latter is drawn from sound art, experimental electronica, conventional and non-conventional classical electronic works, popular music, and previous students' compositions. Includes audio/video content: AV special element audio. This class explores sound and what can be done with it. Sources are recorded from students' surroundings - sampled and electronically generated (both analog and digital). Assignments include composing with the sampled sounds, feedback, and noise, using digital signal processing (DSP), convolution, algorithms, and simple mixing. The class focuses on sonic and compositional aspects rather than technology, math, or acoustics, though these are examined in varying detail. Students complete weekly composition and listening assignments; material for the latter is drawn from sound art, experimental electronica, conventional and non-conventional classical electronic works, popular music, and previous students' compositions.

Subjects

computer music | computer music | sound | sound | music | music | audio | audio | listening | listening | electronic music | electronic music | new music | new music | electronica | electronica | sound art | sound art | noise | noise | noise music | noise music | avant-garde | avant-garde | contemporary music | contemporary music | modern music | modern music | composition | composition | recording | recording | music production | music production | recording studio | recording studio | audio software | audio software | recording software | recording software | sampling | sampling | synthesis | synthesis | audio engineering | audio engineering | mixing | mixing | Radiohead | Radiohead

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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CMS.876 History of Media and Technology: Sound, the Minority Report -- Radical Music of the Past 100 Years (MIT) CMS.876 History of Media and Technology: Sound, the Minority Report -- Radical Music of the Past 100 Years (MIT)

Description

This course looks at the history of avant-garde and electronic music from the early twentieth century to the present. The class is organized as a theory and production seminar for which students may either produce audio/multimedia projects or a research paper. It engages music scholarship, cultural criticism, studio production, and multi-media development, such as recent software, sound design for film and games, and sound installation. Sound as a media tool for communication and sound as a form of artistic expression are subjects under discussion. The artists' work reviewed in the course includes selections from audio innovators such as the Italian Futurists, Edgard Varèse, John Cage, King Tubby, Brian Eno, Steve Reich, Afrika Bambaataa, Kraftwerk, Merzbow, Aphex Twin, Rza, Björk, and This course looks at the history of avant-garde and electronic music from the early twentieth century to the present. The class is organized as a theory and production seminar for which students may either produce audio/multimedia projects or a research paper. It engages music scholarship, cultural criticism, studio production, and multi-media development, such as recent software, sound design for film and games, and sound installation. Sound as a media tool for communication and sound as a form of artistic expression are subjects under discussion. The artists' work reviewed in the course includes selections from audio innovators such as the Italian Futurists, Edgard Varèse, John Cage, King Tubby, Brian Eno, Steve Reich, Afrika Bambaataa, Kraftwerk, Merzbow, Aphex Twin, Rza, Björk, and

Subjects

popular culture | popular culture | contemporary music | contemporary music | rock | rock | rap | rap | electronic music | electronic music | electronica | electronica | sampling | sampling | noise | noise | audio | audio | avant-garde | avant-garde | music criticism | music criticism | studio production | studio production | podcast | podcast | mashup | mashup | collage | collage | tape loop | tape loop | DJ | DJ | synthesizer | synthesizer | music synthesis | music synthesis | drum machine | drum machine | music concrete | music concrete

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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Creating an ethical organisation Creating an ethical organisation

Description

Businesses are increasingly making explicit their commitment to dealing with ethical concerns. This free course, Creating an ethical organisation, explores the business case for an ethical approach to human resources management, and examines whether a more 'human-centred' approach can bring dividends and how an ethical approach fits within an organisation's strategy. First published on Fri, 15 Jan 2016 as Creating an ethical organisation. To find out more visit The Open University's Openlearn website. Creative-Commons 2016 Businesses are increasingly making explicit their commitment to dealing with ethical concerns. This free course, Creating an ethical organisation, explores the business case for an ethical approach to human resources management, and examines whether a more 'human-centred' approach can bring dividends and how an ethical approach fits within an organisation's strategy. First published on Fri, 15 Jan 2016 as Creating an ethical organisation. To find out more visit The Open University's Openlearn website. Creative-Commons 2016

Subjects

Business Studies | Business Studies | avant-garde | avant-garde | human resources | human resources | strategy | strategy | B824_1 | B824_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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21M.263 Music Since 1960 (MIT) 21M.263 Music Since 1960 (MIT)

Description

This course begins with the premise that the 1960s mark a great dividing point in the history of 20th century Western musical culture, and explores the ways in which various social and artistic concerns of composers, performers, and listeners have evolved since that decade. It focuses on works by classical composers from around the world. Topics include the impact of rock, as it developed during the 1960s - 70s; the concurrent emergence of post serial, neotonal, minimalist, and new age styles; the globalization of Western musical traditions; the impact of new technologies; and the significance of music video, video games, and other versions of multimedia. The course interweaves discussion of these topics with close study of seminal musical works, evenly distributed across the four decades This course begins with the premise that the 1960s mark a great dividing point in the history of 20th century Western musical culture, and explores the ways in which various social and artistic concerns of composers, performers, and listeners have evolved since that decade. It focuses on works by classical composers from around the world. Topics include the impact of rock, as it developed during the 1960s - 70s; the concurrent emergence of post serial, neotonal, minimalist, and new age styles; the globalization of Western musical traditions; the impact of new technologies; and the significance of music video, video games, and other versions of multimedia. The course interweaves discussion of these topics with close study of seminal musical works, evenly distributed across the four decades

Subjects

composition | composition | contemporary music | contemporary music | classical music | classical music | improvisation | improvisation | serialism | serialism | minimalism | minimalism | rock | rock | jazz | jazz | tonality | tonality | neo-tonal | neo-tonal | recording | recording | sampling | sampling | chamber music | chamber music | pantonal | pantonal | atonal | atonal | avant-garde | avant-garde

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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Creating an ethical organisation

Description

Businesses are increasingly making explicit their commitment to dealing with ethical concerns. This free course explores the business case for an ethical approach to human resources management and examines whether a more 'human-centred' approach can bring dividends and how an ethical approach fits within an organisation's strategy.

Subjects

Business Studies | avant-garde | human resources (HR) | strategies | B824_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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CMS.876 History of Media and Technology: Sound, the Minority Report -- Radical Music of the Past 100 Years (MIT)

Description

This course looks at the history of avant-garde and electronic music from the early twentieth century to the present. The class is organized as a theory and production seminar for which students may either produce audio/multimedia projects or a research paper. It engages music scholarship, cultural criticism, studio production, and multi-media development, such as recent software, sound design for film and games, and sound installation. Sound as a media tool for communication and sound as a form of artistic expression are subjects under discussion. The artists' work reviewed in the course includes selections from audio innovators such as the Italian Futurists, Edgard Varse, John Cage, King Tubby, Brian Eno, Steve Reich, Afrika Bambaataa, Kraftwerk, Merzbow, Aphex Twin, Rza, Bjrk, and

Subjects

popular culture | contemporary music | rock | rap | electronic music | electronica | sampling | noise | audio | avant-garde | music criticism | studio production | podcast | mashup | collage | tape loop | DJ | synthesizer | music synthesis | drum machine | music concrete

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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Modern Poetry and Poetics

Description

This course will ask what makes poetry “modern?” The student will discuss the cultural and political history of the period as well as the major movements that comprise “modern poetry,” stopping to become acquainted with its noteworthy practitioners and perform close-readings of their works. By the end of this course, the student will have critically explored the concept of “modern poetry,” identifying its characteristic techniques, concerns, and figures. This free course may be completed online at any time. See course site for detailed overview and learning outcomes. (English Literature 408)

Subjects

english | poetry | poetics | literature | modern | modernism | symbolism | imagism | world war i | t.s. eliot | objectivism | world war ii | mainstream | avant-garde | related subjects | R000

License

Attribution 2.0 UK: England & Wales Attribution 2.0 UK: England & Wales http://creativecommons.org/licenses/by/2.0/uk/ http://creativecommons.org/licenses/by/2.0/uk/

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CMS.876 History of Media and Technology: Sound, the Minority Report -- Radical Music of the Past 100 Years (MIT)

Description

This course looks at the history of avant-garde and electronic music from the early twentieth century to the present. The class is organized as a theory and production seminar for which students may either produce audio/multimedia projects or a research paper. It engages music scholarship, cultural criticism, studio production, and multi-media development, such as recent software, sound design for film and games, and sound installation. Sound as a media tool for communication and sound as a form of artistic expression are subjects under discussion. The artists' work reviewed in the course includes selections from audio innovators such as the Italian Futurists, Edgard Varèse, John Cage, King Tubby, Brian Eno, Steve Reich, Afrika Bambaataa, Kraftwerk, Merzbow, Aphex Twin, Rza, Bj&oum

Subjects

popular culture | contemporary music | rock | rap | electronic music | electronica | sampling | noise | audio | avant-garde | music criticism | studio production | podcast | mashup | collage | tape loop | DJ | synthesizer | music synthesis | drum machine | music concrete

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.065 Introduction to Musical Composition (MIT)

Description

Through a progressive series of composition projects, students investigate the sonic organization of musical works and performances, focusing on fundamental questions of unity and variety. Aesthetic issues are considered in the pragmatic context of the instructions that composers provide to achieve a desired musical result, whether these instructions are notated in prose, as graphic images, or in symbolic notation. No formal training is required. Weekly listening, reading, and composition assignments draw on a broad range of musical styles and intellectual traditions, from various cultures and historical periods.

Subjects

form | structure | notation | musical score | composer | composing | music history | deep listening | sound | soundwalk | instrument building | contemporary music | avant-garde music | experimental music | graphic score | Musique Concrete | vocal music

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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21M.351 Music Composition (MIT)

Description

This course features directed composition of larger forms of original writing involving voices and/or instruments. It includes a weekly seminar in composition for the presentation and discussion of work in progress. Students are expected to produce at least one substantive work, performed in public, by the end of the term. Contemporary compositions and major works from 20th-century music literature are studied.

Subjects

classical music | composer | contemporary music | 20th century music | chamber music | atonal | post-tonal | avant-garde music | orchestration | art song | song

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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21M.361 Composing with Computers I (Electronic Music Composition) (MIT)

Description

This class explores sound and what can be done with it. Sources are recorded from students' surroundings - sampled and electronically generated (both analog and digital). Assignments include composing with the sampled sounds, feedback, and noise, using digital signal processing (DSP), convolution, algorithms, and simple mixing. The class focuses on sonic and compositional aspects rather than technology, math, or acoustics, though these are examined in varying detail. Students complete weekly composition and listening assignments; material for the latter is drawn from sound art, experimental electronica, conventional and non-conventional classical electronic works, popular music, and previous students' compositions.

Subjects

computer music | sound | music | audio | listening | electronic music | new music | electronica | sound art | noise | noise music | avant-garde | contemporary music | modern music | composition | recording | music production | recording studio | audio software | recording software | sampling | synthesis | audio engineering | mixing | Radiohead

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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Twentieth Century Art

Description

This course explores the history of cultural and artistic developments of the twentieth century in the Western world (Europe and the United States). The student will concentrate on major styles in painting and sculpture, including Cubism, Fauvism, Futurism, Expressionism, Dada, Surrealism, Pop Art, and Op-Art, as well as on Modernism and Post-Modernism in architecture, learning about the aesthetic ideals, systems of belief, as well as political, religious, and social conditions that these styles reflect. This free course may be completed online at any time. See course site for detailed overview and learning outcomes. (Art History 209)

Subjects

twentieth century | art | modernism | impressionism | art nouveau | avant-garde | fauvism | matisse | expressionism | cubism | futurism | abstraction | suprematism | constructivism | surrealism | photorealism | postmodernism | design | W000

License

Attribution 2.0 UK: England & Wales Attribution 2.0 UK: England & Wales http://creativecommons.org/licenses/by/2.0/uk/ http://creativecommons.org/licenses/by/2.0/uk/

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21M.263 Music Since 1960 (MIT)

Description

This course begins with the premise that the 1960s mark a great dividing point in the history of 20th century Western musical culture, and explores the ways in which various social and artistic concerns of composers, performers, and listeners have evolved since that decade. It focuses on works by classical composers from around the world. Topics include the impact of rock, as it developed during the 1960s - 70s; the concurrent emergence of post serial, neotonal, minimalist, and new age styles; the globalization of Western musical traditions; the impact of new technologies; and the significance of music video, video games, and other versions of multimedia. The course interweaves discussion of these topics with close study of seminal musical works, evenly distributed across the four decades

Subjects

composition | contemporary music | classical music | improvisation | serialism | minimalism | rock | jazz | tonality | neo-tonal | recording | sampling | chamber music | pantonal | atonal | avant-garde

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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