Courses

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

PS-498

2 credit(s)
Course Chair: Carl Riley
Semesters Offered: Fall, Spring
Required of: None
Electable by: All
Prerequisites: Written approval of instructor and course chair
Department: PERF
Location: Boston Campus

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.

PS-499

0 credit(s)
Course Chair: Carl Riley
Semesters Offered: Fall, Spring
Required of: Berklee Global Jazz Institute students
Electable by: All
Prerequisites: Written approval of course instructor
Department: PERF
Location: Boston Campus

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.

PS-522

3 credit(s)
Course Chair: Casey Driessen
Semesters Offered: Spring Only
Required of: CPPD graduate students
Electable by: CPPD graduate students
Prerequisites: Written approval of program director
Department: CPRF
Location: Valencia (Spain) Campus

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.

PS-523

3 credit(s)
Course Chair: Marco Pignataro
Semesters Offered: Spring Only
Required of: CPGJ graduate students
Electable by: CPGJ graduate students
Prerequisites: Written approval of program director
Department: CPGJ
Location: Boston Campus

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.

PS-530

3 credit(s)
Course Chair: Marco Pignataro
Semesters Offered: Fall Only
Required of: CPGJ graduate students
Electable by: CPGJ graduate students
Prerequisites: Written approval of program director
Department: CPRF
Location: Boston Campus

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.

PS-532

3 credit(s)
Course Chair: Casey Driessen
Semesters Offered: Fall, Spring, Summer
Required of: CPPD graduate students; elective course in MPTI and SFTV
Electable by: CPPD, MPTI, and SFTV graduate students
Prerequisites: Written approval of program director
Department: CPRF
Location: Valencia (Spain) Campus

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.

PS-540

3 credit(s)
Course Chair: Marco Pignataro
Semesters Offered: Fall Only
Required of: CPGJ graduate students
Electable by: CPGJ graduate students
Prerequisites: Written approval of program director
Department: CPRF
Location: Boston Campus

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.

PS-619

3 credit(s)
Course Chair: Casey Driessen
Semesters Offered: Fall Only
Required of: CPPD graduate students
Electable by: CPPD graduate students
Prerequisites: Written approval of program director
Department: CPRF
Location: Valencia (Spain) Campus

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. 

PS-621

3 credit(s)
Course Chair: Casey Driessen (Valencia), Marco Pignataro (Boston)
Semesters Offered: Spring, Summer
Required of: None; elective course in CPGJ and CPPD
Electable by: CPGJ and CPPD graduate students
Prerequisites: Written approval of program director
Department: CPRF
Location: Boston Campus, Valencia (Spain) Campus

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

3 credit(s)
Course Chair: Casey Driessen
Semesters Offered: Spring Only
Required of: CPPD graduate students
Electable by: CPPD graduate students
Prerequisites: Written approval of program director
Department: CPRF
Location: Valencia (Spain) Campus

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.

PS-624

3 credit(s)
Course Chair: Casey Driessen
Semesters Offered: Spring Only
Required of: CPPD graduate students
Electable by: CPPD graduate students
Prerequisites: Written approval of program director
Department: CPRF
Location: Valencia (Spain) Campus

This course provides a structured approach to the many aspects of record production. Through project-based, experiential learning exercises, designed to arm students with powerful tools and strategies in music production, this course enables students to create a recording that may serve as an essential piece of their culminating experience. Students gain first-hand experience in the preproduction, recording and mixing process. Recording sessions 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 further explore how the recording process best serves their individual artistic and professional goals, as they collaborate with musicians, technologists, and stakeholders involved in developing material for record company release.

PS-625

3 credit(s)
Course Chair: Casey Driessen
Semesters Offered: Spring, Summer
Required of: None; elective course in CPPD
Electable by: CPPD graduate students
Prerequisites: Written approval of program director
Department: CPRF
Location: Valencia (Spain) Campus

In this workshop, vocalists and instrumentalists develop and perfect the skills necessary for live performance. They explore the concept that good performances involve not only excellent musicianship but also a high level of stage presence and audience interaction. Students explore the different kinds of stage performance techniques that are appropriate in different settings. They investigate concepts of musical and artistic interaction with the audience, and explore different kinds of audiences. They also explore performance as communication. They evaluate strategies to communicate musically through their music and their body. Additionally, students synthesize concepts of acting and persona creation that are part of every performance. In-class performances will be recorded and critiqued for effectiveness in movement, presentation, and overall performance. Students learn skills and strategies for microphone and rehearsal techniques, lead sheet preparation, stage presence, programming, audience interaction, persona development, and more. Students also learn strategies for effective auditioning. Students will give special consideration to the technical aspects of performance (e.g. acoustics, achieving an appropriate mix for the venue, and recording live performances). At the end of the semester, the class will hold a recital.

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