A course in workshop format designed to help the student develop individual style and technique in lyric writing. The course will focus on prosody of form and content, setting lyric to music and vice versa, and on the integration of techniques learned in SW-221 and SW-222.
A study of the work of John Lennon, including musical analysis, lyric analysis, survey of his poetry and art, transitional periods, and the influence of his interest in surrealist and nonmusical events. Influences of Paul McCartney and Yoko Ono. Class presentations include audio and video clips.
A practical business course for the songwriter. Topics covered will include making and marketing demos, copyright law, publishing contracts, sources of royalty income, performance societies, and collection agencies.
This project-oriented, workshop-style class presents varied models for songwriting collaboration, including differentiated roles for lyricist and composer (typical of earlier musical theater writing), the cowriting model prevalent in current Nashville-centered country songwriting, and emerging collaborative roles in production-driven contemporary genres such as pop, R&B, and hip-hop. Industry needs and realities are reflected in class projects. Students play varied roles in both in-class fishbowl and serious project collaborations, including writing to theme/on deadline and for specific industry artists and/or selected student vocalists. In-class cowriting sessions, partner projects, and technology-supported virtual collaboration are explored. The class also covers pragmatic issues essential in professional cowriting, including cowriter selection, decision-making and consensus, and contractual and business issues of coauthorship and copublishing.
An opportunity for student composers, lyricists, and playwrights to collaborate in adapting dramatic scenes into songs for the musical stage. Students write and perform their original work in a class setting and critique the work of their peers with supervision from the instructor. Students also discuss and analyze major works from the musical theater and opera repertoire. The class emphasizes storytelling and dramatic writing through song, promotes innovation, and is open to writers of diverse musical styles.
A hands-on songwriting class that will allow students to put their social change ideas into rhyme, while also surveying songs in different eras and cultures throughtout the 20th century that promoted social change and/or illustrated social phenomenon particular to that era and culture. Benefit concert events like Live Aid and the Concert for Bangladesh that brought about awareness of prominent issues will also be explored. Notable songs which had impact on social change will be analyzed (e.g. Imagine, Get Up, Stand Up, Strange Fruit) and prominent activist songwriters will be profiled (such as Bob Dylan, Bono, Bob Marley, Michael Franti, and Bob Geldof). Throughout the semester, students will have an opportunity to experiment with different writing topics and settings. There will be weekly writing assignments, as well as documentary screenings. Guest speakers and visiting artists will be invited to participate when available.
The songwriting major will learn the necessary techniques to utilize current MIDI and audio technology in the production of professional-quality song demos, including intermediate to advanced skills and concepts of MIDI, synthesis, multitrack recording, mixing, and sound processing. Building on technology skills, this course will focus on musical approaches to the effective assembly and arranging of sound materials using a music-writing workstation. In addition to class meetings, students will be expected to schedule weekly supervised individual hands-on time for practice and assignments in the Professional Writing MIDI Lab.
This course provides detailed study of professional song production in a range of popular styles, allowing students to understand what makes a successful track work. Using successful tracks as standards for artistic and musical reference, students, by means of a hands-on approach, will develop and integrate a variety of synthesis techniques and DSP applications to creatively enhance their original song productions.
This course allows songwriters to record and produce their demos, to interact with live musicians and a recording engineer under the guidance of the instructor, and to find the best working methods to get their songs recorded professionally. Class members will either sing their original songs themselves (required of singer/songwriters) or provide a suitable vocalist. During the semester, each songwriter will record/have recorded two of his/her songs, and will be present to observe and learn from recordings of other class members. In addition to registering for this course, the student must also attend meetings of ENPP-303 Rhythm Track for Songwriters.
A workshop for singer/songwriters in which students write and perform their own material. Emphasis is placed on the song as the vehicle through which the singer/songwriter expresses his or her persona to the audience. Performances are videotaped, and songs and performances are critiqued.
Students will explore methods of musical storytelling and incorporating a larger dramatic arc to their vision; develop songwriting approaches for dramatic contexts; gain further experience in collaborative songwriting and scene writing; improve skills of giving/receiving peer feedback as a tool in the writing process; learn project management techniques on a large-scale project; and gain appreciation of professional possibilities in musical theater writing, a vibrant and vital contemporary American art form. Through ancillary rehearsals, students learn to prepare accurate scores and hand-off scores to a pianist/music director and actors.
Monitored and evaluated professional work experience in an environment related to the songwriting major. Placement is limited to situations available from or approved by the Office of Experiential Learning and the Songwriting Department chair or a designee. To apply for an internship, students must see the internship coordinator in the Office of Experiential Learning prior to registering. Note: Equivalent credit for prior experience is not available due to the requirement of concurrent contract between the employer/supervisor and the college. International students in F-1 status must obtain authorization on their Form I-20 from the Counseling and Advising Center prior to beginning an internship.