Courses

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

CP-210

3 credit(s)
Course Chair: Richard Carrick
Semesters Offered: Fall, Spring, Summer
Required of: All
Electable by: All
Prerequisites: HR-112, ET-112, and CM-211 or CM-251
Department: COMP
Location: Boston Campus, Valencia (Spain) Campus

This course instructs students in the fundamental principles of free counterpoint (i.e., composition with melodic lines) with an emphasis on two-part writing. Through the utilization of a three-pronged focus on principles, literature, and experiential practice, students complete exercises and projects involving composition and performance within the common-practice period with additional attention to and experience in contemporary tonal practice.

Please note there is currently no online course equivalency for this course. 

CP-215

2 credit(s)
Course Chair: Richard Carrick
Semesters Offered: Fall, Spring, Summer
Required of: COMP, CWPR, and FILM majors
Electable by: All
Prerequisites: CP-210
Department: COMP
Location: Boston Campus

A thorough study of the Two and Three-Part Inventions of J.S. Bach through analysis and composition within a functional tonal language. There will be two projects, a two-part invention and a three-part invention in the style of Bach.

CP-311

2 credit(s)
Course Chair: Richard Carrick
Semesters Offered: Fall, Spring, Summer
Required of: COMP majors
Electable by: All
Prerequisites: CM-212 or CM-252, and CP-215
Department: COMP
Location: Boston Campus

Analysis and writing of three- and four-voice imitative counterpoint based on traditional models. Models include fugue, chorale prelude, and passacaglia or chaconne.

CP-350

2 credit(s)
Course Chair: Richard Carrick
Semesters Offered: Fall, Spring
Required of: None
Electable by: All
Prerequisites: CM-212 and CP-215
Department: COMP
Location: Boston Campus

The course is based on the examination of different realms of 20th-century counterpoint through the detailed analysis of contrapuntal styles and techniques of leading innovative composers such as Ravel, Stravinsky, Shostakovich, Hindemith, Bartók, Messiaen, Honegger, Barber, and composers of the New Viennese School. More recent stages in the evolution of counterpoint will be studied in examples by Ligeti, Lutoslawski, Penderecki, Schnittke, and Gubaidulina, as well as contemporary American composers (including Berklee composers).

CP-361

2 credit(s)
Course Chair: George Russell Jr.
Semesters Offered: Fall, Spring, Summer
Required of: JCMP majors
Electable by: All
Prerequisites: AR-112 and HR-211
Department: JCMP
Location: Boston Campus

Study of the process for creating multiline textures in a given melodic and/or harmonic situation. Voice-leading, melodic analysis and embellishment, rhythm, and form. Assigned written projects to emphasize the role of contrapuntal practices in arranging.

CP-362

2 credit(s)
Course Chair: George Russell Jr.
Semesters Offered: Fall, Spring, Summer
Required of: JCMP majors
Electable by: All
Prerequisites: CP-361
Department: JCMP
Location: Boston Campus

Continuation of CP-361. Emphasis on the role that counterpoint plays in jazz composition.

CW-141

2 credit(s)
Course Chair: Andrea Pejrolo
Semesters Offered: Fall, Spring
Required of: None
Electable by: All
Prerequisites: MTEC-111
Department: CWP
Location: Boston Campus

An introduction to writing and production techniques in hip-hop styles. Topics include the social and cultural aspects of hip-hop music as it pertains to the music's origins and early pioneers, the analysis of stylistic and musical characteristics, and instruction in the use of sequencing software in hip-hop production.

CW-171

2 credit(s)
Course Chair: Andrea Pejrolo
Semesters Offered: Fall, Spring, Summer
Required of: CWPR majors
Electable by: All
Prerequisites: AR-111, ET-112, HR-112, and MTEC-111
Department: CWP
Location: Boston Campus, Inside Berklee Courses (Online)

Expanding on the material introduced in AR-111, this course focuses on creating and writing grooves for the rhythm section (guitar, keyboard, bass, percussion, and drums) and the ways in which different grooves work together. Original techniques and practical approaches to creating grooves will be presented, as well as methods to refine and create variations in grooves and scoring with production goals in mind. Styles studied include funk, hip-hop, rock, reggae, and ska; Latin styles, including bossa, samba, salsa, cha-cha, songo, and baion; shuffle, as used in rock, blues, and funk; generic dance grooves such as techno; and pop and Euro-pop. Projects will include transcription, sequencing, and live performance of grooves.

CW-191

2 credit(s)
Course Chair: Andrea Pejrolo
Semesters Offered: Fall, Spring, Summer
Required of: CWPR majors
Electable by: CWPR majors
Prerequisites: AR-111 and MTEC-111
Department: CWP
Location: Boston Campus, Valencia (Spain) Campus

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.

CW-205

2 credit(s)
Course Chair: Andrea Pejrolo
Semesters Offered: Spring Only
Required of: None
Electable by: All
Prerequisites: CW-191
Department: CWP
Location: Boston Campus

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.

CW-211

2 credit(s)
Course Chair: Andrea Pejrolo
Semesters Offered: Fall, Spring, Summer
Required of: CWPR majors
Electable by: All
Prerequisites: AR-112, CW-171, and CW-216
Department: CWP
Location: Boston Campus

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.

CW-213

2 credit(s)
Course Chair: Andrea Pejrolo
Semesters Offered: Fall
Required of: None
Electable by: All
Prerequisites: AR-111, ET-112, and HR-112
Department: CWPR
Location: Boston Campus

This class focuses on the musical analysis and writing techniques of many of the most important contemporary recording/performing artists and composers in South America. Using a map of South America and the Caribbean, this course virtually travels through the continent visiting each country (except Brazil), to explore their traditional and contemporary music. Scores, recordings, literature, and video material explains how South American music was born, evolved, and transformed by absorbing the encounter between indigenous, African, and European traditional music in the "New World." Using classical and modern musical forms, including: orchestral, chamber, jazz, rock, pop, flamenco, and African music examples, students learn about the wide, and yet relatively unexplored, spectrum of South American music and how to apply these elements into their own compositions. Through analysis, transcriptions, and scored music material provided by the instructor, students learn various rhythmic and harmonic patterns from different countries of South America and the Caribbean, such as: Colombia, Argentina, Perú, Venezuela, Haiti, Cuba, Trinidad, and others. Students also discuss the historical and social process of South American culture in order to gain a comprehensive understanding of the multicultural and multiracial roots of contemporary South American music.

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