This class meets for 2 hours each week dividing class time into two equal segments where the instructor lectures, taking students on a chronological tour of the significant events in Marley's life with an emphasis on discovering Marley's radical yet positive sociopolitical message and relating it to current events in our time. The second segment of the class is spent learning the musical subtleties of the roots reggae style and preparing arrangements of 7-10 Marley compositions for performance. Watch for posters and electronic announcements online.
This multipurpose course provides an opportunity for students to participate in a nonstylistic improvisational environment as a means to explore musical communication and develop improvisational performance skills. Students will 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. All ensemble combinations are explored (e.g., full ensemble, trios, duets, and solos).
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.
This course will engage students in the musical and lyrical analysis in the varied styles of Kenny ""Babyface"" Edmonds. Students will be required to write lead sheets of their analysis identifying characteristics of hit songs such as melody harmonic chord relationships rhythmic motifs and lyrical content. Select student compositions as well as music of the artist will be chosen to be performed each week in class. Some research and compositional writings that relate to the historical documentation of the artist as a singer/songwriter/producer as well as exposure to and knowledge of his vast catalog will be included as part of the required research.
This course will study all aspects of professional-level concert production. Classes are held in various formats: lectures, production meetings, music sequencing classes, and live performance rehearsals. This course provides a focused study of development and presentation of a thematic concert. It also addresses the roles of the stage manager, the musical director, and technology in contemporary concert production.
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.
In the digital age, musicians need to be innovative in the way they promote, distribute and monetize the product of their creation. Even if talent is still a critical aspect that will determine the artist’s ability to succeed, building a sustainable career now requires a wide set of skills including an acute understanding of how business works. In this course, artists are developing business-related skills that will be fundamental in their career. Students learn about the economics of creative industries; they learn to analyze emerging trends in music business and come to understand how these trends apply to their own artistic work; and they learn to apply important business skills to foster their own careers.