Courses

e.g. AR or AR-211
e.g. Film or "Bass Lab"

Sequencing and Production Techniques

CW-191

2 credit(s)
Course Chair: Matthew Nicholl
Offered: Fall, Spring, Summer
Required of: CWPR majors
Electable by: CWPR majors
Prerequisites: MTEC-111
Department: CWP

The course covers the necessary tools, techniques, and applications of MIDI sequencing and digital audio for writing and production. Main topics include the MIDI standard and its applications, set up and use of digital audio workstations (DAWs), integration of MIDI and audio tracks/sources, use of software synthesizers, basic mixing techniques, audio theory, equipment, and techniques. Through practical examples, activities, and projects the student will learn how to effectively use a DAW to write and produce music. Emphasis is on technological needs of the contemporary writer.

Music Preparation

CW-205

2 credit(s)
Course Chair: Matthew Nicholl
Offered: Spring
Required of: None
Electable by: All
Prerequisites: PW-161
Department: CWP

Building on the content of AR-203, this course provides in-depth study of the capabilities of the software program Finale. Course content includes using Metatools, Hyperscribe, Shape Designer, a broader range of editing tools, and practical shortcuts to efficiently create scores and parts of professional quality. Instruction and project work is accomplished in the Professional Writing Division MIDI Lab.

Writing for Small Ensemble

CW-211

2 credit(s)
Course Chair: Matthew Nicholl
Offered: Fall, Spring, Summer
Required of: CWPR majors
Electable by: All
Prerequisites: AR-112, CW-171, and CW-216
Department: CWP

Instruction in advanced small group writing concepts that encompasses sophisticated rhythm section scoring and groove writing, including writing for auxiliary percussion; an introduction to writing for voices and strings; background writing for horns, strings, and voices; manipulation of elements of large-scale form and structure; creation of complex, layered textures; and hybrid writing techniques involving sequencing and live players. In addition, the course will focus heavily on score and part preparation.

Vocal Writing

CW-216

2 credit(s)
Course Chair: Matthew Nicholl
Offered: Fall, Spring, Summer
Required of: CWPR majors
Electable by: All
Prerequisites: AR-112, HR-211, and either ET-211 or ET-231
Department: CWP

Conceptualizing, writing, and producing vocals; contemporary writing and production techniques for vocal groups of different sizes; working with vocals in live situations versus the recording studio environment; writing background vocals above a band versus a cappella vocal writing. Creating vocal band effects will also be explored. Range considerations, timbre, vocal production, and notation for various size vocal groups; writing and production techniques and considerations for recording studio situations.

Jingle Writing

CW-218

2 credit(s)
Course Chair: Matthew Nicholl
Offered: Fall, Spring, Summer
Required of: None
Electable by: All
Prerequisites: AR-111 and HR-211
Department: CWP

Composition of music for radio and television commercials. Emphasis on means of creating suitable product image. Working with, and alteration of, given lyrics. Some lyric writing. Determining proper instrumentations. Timing considerations.

Writing in Salsa Styles

CW-225

2 credit(s)
Course Chair: Matthew Nicholl
Offered: Fall, Spring
Required of: None
Electable by: All
Prerequisites: AR-112
Department: CWP

A study of rhythmic styles of contemporary salsa music, including characteristics of instrumentation and the unique clave rhythmic pattern. Specific rhythmic styles analyzed will include mambo, son montuno, guajiro, bomba, merengue, and songo, among others. Musical scores of Eddie Palmieri, Juan Luis Guerra, Oscar D'León, Arturo Sandoval, Paquito D'Rivera, and many others will be analyzed. Students will create melodies as well as piano, guitar, bass, and percussion rhythmic patterns; they will write brass instrumental sections using the clave rhythmic pattern.

Scoring for Percussion

CW-237

2 credit(s)
Course Chair: Matthew Nicholl
Offered: Fall, Spring
Required of: None
Electable by: All
Prerequisites: AR-112
Department: CWP

Survey of the mallet, membrane, and accessory groups of the percussion instrument family. Demonstration and discussion of notation, range, techniques, and effects. Scores from Broadway shows and studio, orchestral, chamber, and solo pieces.

Writing for Woodwinds

CW-247

2 credit(s)
Course Chair: Matthew Nicholl
Offered: Fall, Spring
Required of: None
Electable by: All
Prerequisites: AR-112
Department: CWP

A study of the flute, clarinet, and double reed families based on intensive listening, transcription, live demonstration, and composition. Compositions will include: visual imagery, storytelling, non-Western based concepts and forms, sound exchange, layering sound, and techniques for composition that include improvisation.

Contemporary Applications of 12-Tone Concepts

CW-255

2 credit(s)
Course Chair: Matthew Nicholl
Offered: Fall Only
Required of: None
Electable by: All
Prerequisites: ET-212, HR-212, and either AR-112, CP-210 or CP-211
Department: CWP

Alternative approaches and concepts to writing that can be used in various aspects of songwriting, arranging, and composing for contemporary broadcast media, such as film and TV scores, that will supplement other writing approaches. Using compositional concepts pioneered by George Tremblay and Jack Smalley, the course explores writing techniques based on the use of the 12-tone row concept and the process of extracting consonant melodic components from the rows that are then applied to writing for contemporary musical styles and forms and commercial clients. Some writing projects will be realized through sequencing and live performance.

Musical Theater Arranging and Orchestration

CW-257

2 credit(s)
Course Chair: Matthew Nicholl
Offered: Spring Only
Required of: None
Electable by: All
Prerequisites: AR-112
Department: CWP

Study of orchestration in musical theater and the role of the orchestra in a theater piece. Students will arrange and orchestrate songs with a focus on supporting a vocalist, telling the story, and creating a theatrical sound. The class will explore how orchestration can be used as a dramatic element to establish a period, create a mood, and support the narrative. Written projects focus on typical instruments and ensembles used in various theatrical situations. Listening will include songs from a wide variety of musical theater recordings, with examples of piano scores and individual parts from shows.

DAW Writing and Production

CW-261

2 credit(s)
Course Chair: Matthew Nicholl
Offered: Fall, Spring, Summer
Required of: CWPR majors
Electable by: CWPR majors
Prerequisites: ISKB-211 (non-piano principals) and CW-191 or PW-161
Department: CWP

The advanced student will learn to utilize digital audio workstations (DAW) to create arrangements of either original or existing musical elements. This course focuses on the creative use of technology in music production. Topics covered include signal flow of MIDI and audio signal within the DAW, sound processing plugins, choosing appropriate sounds and combining elements from software synthesizers, alternate approaches to quantizing and refining rhythmic grooves, hybrid production techniques (audio and MIDI), use of the DAW for scoring to picture, and basic synthesis techniques. In addition to using their own laptops in the Professional Writing Technology Lab, students are expected to have the CWP major bundle.

Music Production Techniques for Writers

CW-275

2 credit(s)
Course Chair: Matthew Nicholl
Offered: Fall Only
Required of: None
Electable by: All
Prerequisites: AR-111, HR-211, and CW-261
Department: CWP

Viewing music production from the writer's perspective, this course explores how knowledge of compositional elements including melody, harmony, arranging, and orchestration help provide the foundation and focus of contemporary production styles and techniques. Study and analysis of great producer/musicians will include George Martin, Quincy Jones, Phil Spector, Daniel Lanois, Peter Gabriel, Prince, Don Was, Robert John Mutt Lange, and others. Focus will be on how producers utilize their background as accomplished musicians to create the aural landscape of the artists they produce. Course projects will include analysis papers on different producers in a variety of styles, and one recording project.

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