This multipurpose course is a continuation of Improvisation Concepts Workshop 1, and provides a nonstylistic improvisational environment as a means to explore musical communication and develop improvisational performance skills. Students perform on a weekly basis in a variety of improvised settings while boundaries, structure, and musical focal strategies are provided by the instructor. Discussion and critique follow each performance and students are expected to participate. Students are exposed to a wide variety of improvisational music through required listening sessions in and out of class.
Monitored and evaluated professional work experience for the performance major. Upon completion of the internship, students will submit a project/portfolio. Placement is limited to situations available from or approved by the Office of Experiential Learning and the appropriate Performance 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.
This course is a high-level playing class that explores the various melodic roles of the instruments. Course materials and instruction address how to construct and improvise pattern-organized melody lines on the chord progressions of standard jazz songs using symmetric scales, chord couplings, interval patterns, and melodic cells. Emphasis is placed upon students learning how to practice and perform music that includes the techniques learned in the classroom and from the recommended reading.
This course is a seminar style assembly for the student body of the Berklee Global Jazz Institute. The objective of the Global Jazz Forum is community learning and critical thinking in interdisciplinary aesthetics. The Global Jazz Forum hosts and presents students' special musical projects, BGJI Artists in Residence, and BGJI faculty workshops, as well as special topic presentations from faculty of the Performance Division, Liberal Arts, Music Therapy, and Composition departments. The Global Jazz Forum grade will be reflected in the BGJI Ensemble evaluation.
The course is a project-based, experiential learning exercise that will arm students with powerful tools and strategies in music production. Artist identity, vision and intention will provide direction for a recording project that will give students first-hand experience in the preproduction, recording and mixing process. Recording sessions will take place in a variety of venues, from professional recording studios with a large-format console, to project studios, to home recording set ups. Students explore the ways that the recording process can best serve their own professional and artistic goals, while collaborating with musicians and engineers.
This course prepares performers for studio recording and music production. As artists master basic recording and production concepts, they also engage in discussions about themselves as artists to determine which processes most effectively support their goals. Artists learn to make informed decisions to facilitate successful and productive recording sessions as well as creative performances while also saving time and reducing expenses. Students master terms, concepts, protocols, and decisions that lead to successful finished productions. Students learn the basics of studio listening, preparing for a session, budgeting, file delivery, file formats, transfers, rehearsal and recording techniques and editing. They also explore various mastering concerns. Through this course, students learn the roles each participant has to play in the recording process: the musicians, tracking engineer, mixing engineer, mastering engineer, and producer. Additionally, students evaluate when to record in a home studio, a professional studio or both.
The course prepares and informs performing musicians for a livelihood in music. Students explore the anatomy of the music business, the intellectual property monies that will sustain a player’s career, and the paperwork that is part of business. Students especially focus on three areas: recording agreements and practices, songwriter agreements and practices, and the live music trade. Through the course, students learn about the business needs of U.S. and international musicians.
This course prepares artists to build sustainable careers. Students learn to be innovative in the way they promote, distribute and monetize their own creative products. In this project-based course, students develop of a wide set of business-related skills. Students focus on their own professional projects in order to develop knowledge and skills in three essential areas: 1) project management and finance, 2) contract management and negotiation, and 3) social media management. Through this project-focus, students learn the connections between the creative and business aspects of the music industry. They also enhance their ability to manage projects and to manage their careers.
In this seminar and performance-based course, students learn interdisciplinary approaches to music-making and explore concepts of aesthetics, with a focus on developing their own aesthetic philosophy. Students perform and analyze original music projects; they learn to evaluate and critique each other; and they learn to respond to feedback and advice. Students collaborate with classmates, guest lecturers and artists-in-residence. They synthesize rhythmic, melodic, and harmonic vocabulary from a variety of musical styles. Additionally, they complete weekly directed studies with artists-in-residence, focusing especially on their own artistic projects.
In this seminar and performance-based course, students learn interdisciplinary approaches to music-making and explore concepts of aesthetics, with a focus on developing their own aesthetic philosophy and artistic identity. Students perform and analyze their own music projects; they learn to evaluate and critique each other; and they learn to respond to feedback and advice. Students collaborate with classmates, guest lecturers and visiting artists from a variety of diverse styles and backgrounds: performers, producers and educators, among others. They synthesize rhythmic, melodic, and harmonic vocabulary from a variety of musical styles.
In this course, students explore different topics in improvisation in various musical styles, including rock, pop, blues, and more. Students will explore the melodic styles and content of improvised solos through history, listening, ear training, shared student transcriptions and analyses, practice assignments, and creative performance projects. Students increase their knowledge of the musical choices, issues, and possibilities they face as improvisers. They learn the historical context of their own original work. Students will improve their musical ear and the connections among their musical imagination (inner hearing), aural perception, musical notation, and instrumental performance. They will develop their skills in transcription and analysis, with the goal of gaining a greater command of musical materials for use in their own music. They will experience ways in which the work of improvisers in the past can inspire their contemporary creative work in the present. The titles of individual sections of PS-621 identify the theme of that section. Individual course descriptions are available to registering students at https://www.berklee.edu/graduate-studies/graduate-topics-courses.
PS-622 continues the learning that began in PS-619 Masters Performance Forum: Production. In this seminar and performance-based course, students continue to learn interdisciplinary approaches to music-making and explore concepts of aesthetics, with a focus on developing their own aesthetic philosophy and artistic identity. Students perform and analyze their own music projects; they learn to evaluate and critique each other; and they learn to respond to feedback and advice. Students collaborate with classmates, guest lecturers and visiting artists from a variety of diverse styles and backgrounds: performers, producers and educators, among others. They synthesize rhythmic, melodic, and harmonic vocabulary from a variety of musical styles.