http://www.merlot.org:80/merlot/ A search of MERLOT materials Copyright 1997-2013 MERLOT. All rights reserved. Sat, 18 May 2013 12:55:21 PDT Sat, 18 May 2013 12:55:21 PDT http://www.merlot.org:80/merlot/images/merlot.gif http://www.merlot.org:80/merlot/ 44 34 http://www.merlot.org/merlot/viewMaterial.htm?id=295402 Online course in jazz arranging lets you read about , watch and hear the techniques in action via the Garritan jazz instrument virtual library. Course is self-paced, free and you don't have to sign up to become a member of the forum in order to see all the lessons http://www.merlot.org/merlot/viewMaterial.htm?id=295397 An Online Multimedia course in the principles of orchestration for musicians http://www.merlot.org/merlot/viewMaterial.htm?id=571045 This series is one part of UC Irvine's Musicianship 15 ABC sequence for music majors. An understanding of music notation and basic musical terms is helpful but not required for these presentations. The math involved is basic. Pitch systems use mathematics to organize audible phenomenon for creative expression. The cognitive processes we develop through exposure to music comprise a kind of applied mathematics; our emotional responses to musical nuance grow out of a largely unconscious mastery of the patterns and structures in music. This series of presentations covers the basic mathematics and cognitive phenomenon found in the tonal system used in Western music and much of the music of the world. Over the course of several presentations we will explore basic concepts of pitch and frequency, the organizing rules of tonal systems, and the mathematical construction of basic scales and chords. The reasoning and purpose of equal temperament, the standard tuning system for tonal music, will be explored in this context. Presentations will include graphics and computer applications designed specifically to illustrate these concepts. http://www.merlot.org/merlot/viewMaterial.htm?id=555808 This course is a survey of significant orchestral masterworks composed during three centuries. Listening assignments include 34 symphonies and 24 concertos, composed from the 1720s to the 1990s. Class discussion and oral presentations focus on the works in 18 miniature scores; prior score-reading experience is helpful. Each of the three written papers reviews a concert attended during the term. Since this is a participatory subject, each student will give oral presentations concerning composers and their symphonies and/or concertos. http://www.merlot.org/merlot/viewMaterial.htm?id=555962 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. http://www.merlot.org/merlot/viewMaterial.htm?id=556036 This course builds on the composition techniques practiced in 21M.303 Writing in Tonal Forms I. Students undertake further written and analytic exercises in tonal music, including a sonata-form movement for string quartet. Students will also have the opportunity to write short works that experiment with the expanded tonal techniques of the late 19th and early 20th centuries. Musicianship laboratory is required. http://www.merlot.org/merlot/viewMaterial.htm?id=555771 This class explores composition and arrangement for the large jazz ensemble from 1920s foundations to current postmodern practice. Consideration given to a variety of styles and to the interaction of improvisation and composition. Study of works by Basie, Ellington, Evans, Gillespie, Golson, Mingus, Morris, Nelson, Williams, and others. Open rehearsals, workshops, and performances of student compositions by the MIT Festival Jazz Ensemble and the Aardvark Jazz Orchestra. http://www.merlot.org/merlot/viewMaterial.htm?id=555798 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. http://www.merlot.org/merlot/viewMaterial.htm?id=555648 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. http://www.merlot.org/merlot/viewMaterial.htm?id=555634 This course deals with advanced design theories and textual analysis. Emphasis is placed on script analysis in general, as well as the investigation of design principles from a designer's perspective. Students also refine technical skills in rendering and presentation, historical research, and analysis. Class sessions include interaction with student/faculty directors and other staff designers. The goal of this course is for students to approach text with a fresh vision and translate that vision into design for performance.