7/23/13
In Class:
Mini-quiz: 1) Define melody. 2) Define genre. 3) In "S.R. (The Many Versions Of)" by Reel Big Fish, how does perceived genre effect your affective interpretation?
Distributed and reviewed missing work reports.
Independently, students worked on final projects and missing work.
Exit ticket: What grade do you deserve in this class and why?
Homework:
Finish your final!
Tuesday, July 23, 2013
Monday, July 22, 2013
July 18th, 2013
7/18/13
In Class:
Mini-quiz: 1) Define melody. 2) Define genre. 3) Describe how the idea of genre relates to the Mozart vs. Skrillex video.
Reviewed questions on the final project.
As a class, we listened to and verbally explicated "Anne Braden" by Flobots.
Independently, students used the remaining class time to collect and explicate songs for the final.
Exit ticket: Write one rhyming couplet.
Homework:
Catch up on missing work.
Work on final project!
In Class:
Mini-quiz: 1) Define melody. 2) Define genre. 3) Describe how the idea of genre relates to the Mozart vs. Skrillex video.
Reviewed questions on the final project.
As a class, we listened to and verbally explicated "Anne Braden" by Flobots.
Independently, students used the remaining class time to collect and explicate songs for the final.
Exit ticket: Write one rhyming couplet.
Homework:
Catch up on missing work.
Work on final project!
Wednesday, July 17, 2013
July 16th, 2013
7/16/13
In Class:
Mini-quiz: 1) Define melody. 2) What qualities of the melodies of "Somebody That I Used to Know" create situations like this one?
Reviewed final project (see separate post).
Instruction on generic imperative: the cultural and stylistic expectations, responsibilities, and obligations of artists and audiences of a particular genre (e.g., the 'drop' in dubstep, or the instrumentation of klezmer). Generic imperative is pervasive throughout all subsets of a genre; it is, as the notion of genre itself, a double-edged sword.
Discussed cover songs and remixes: re-interpretation or re-imagining of an already existing song, often crossing lines of genre using innovation. Good covers and remixes sound significantly different from the original recording because the covering artist has introduced a unique style or perspective. Consider "With a Little Help from My Friends," originally recorded by The Beatles and covered by Joe Cocker.
Independently, each student chose an original song to compare with a cover or remix by explicating and completing a Venn diagram like the one to the right.
Exit ticket: Define generic imperative.
Homework:
Catch up on missing work.
Begin working on your final project.
Finish your Venn diagram from class.
In Class:
Mini-quiz: 1) Define melody. 2) What qualities of the melodies of "Somebody That I Used to Know" create situations like this one?
Reviewed final project (see separate post).
Instruction on generic imperative: the cultural and stylistic expectations, responsibilities, and obligations of artists and audiences of a particular genre (e.g., the 'drop' in dubstep, or the instrumentation of klezmer). Generic imperative is pervasive throughout all subsets of a genre; it is, as the notion of genre itself, a double-edged sword.
Independently, each student chose an original song to compare with a cover or remix by explicating and completing a Venn diagram like the one to the right.
Exit ticket: Define generic imperative.
Homework:
Catch up on missing work.
Begin working on your final project.
Finish your Venn diagram from class.
Final Project -- Contemporary Songwriting
Contemporary
Songwriting – Final Project
Due July 24th,
2013 at 3:00 PM
As the final
assessment for Contemporary Songwriting, you will complete a two-part
assignment to demonstrate your growth, both in writing your own songs and
appreciating others’ songs.
Assignment – Part One: Explication
and Reflection
For the
first part of this assessment, you will collect any five or more songs of your
choosing and burn them onto a CD.[*]
These songs should be rich in terms of lyrics, musical depth, and emotional effect.
Ideally, they will showcase what you consider “good” songwriting, which
incorporates the intersection of musical, lyrical, and affective dimensions. I
recommend that you include as much variety
as possible: an eclectic mix of music demonstrates your ability to appreciate
songs of different genres and styles, regardless of your general preference.
In addition
to the CD, you will explicate each song using the attached guiding questions.
These five explications should demonstrate your ability to annotate, analyze,
and reflect on every dimension of the songs in detail. Additionally, your
explications should highlight the lyrical, musical, and affective depth of your
chosen songs, therefore justifying their place in the “plectrum.”
Finally, you
will write a conclusion (350-500 words) which identifies the common thread
through this quality music. Try to answer the question, “What makes this ‘good’
music?”
Assignment – Part Two
For the
second part of this assessment, you have the freedom to determine an adequate
expression of your growth in songwriting and songwriting appreciation. This
includes, but is not limited to:
·
writing a song,
·
researching and analyzing one artist’s
songwriting process and product,
·
creating an artistic interpretation of a
well-written song with an artist’s statement
or
·
performing a song that you previously composed with
a written reflection.
I am
entirely open to other ideas which express your growth: choose whatever sort of
creative project best demonstrates your development this block.
You will be
graded based on the following standards (see the rubric on the following page):
Part One: Part
Two:
· Completion of basic
requirements
· Content: Choice of songs [Rubric to be determined based on student
proposal]
· Explications
· Conclusion
Tips for
success on this project:
·
Start early and use your time wisely. Your final
submissions will provide clear evidence of how much time you have dedicated to
this endeavor.
·
Be certain to analyze songs that are well-written, rather than just songs
that you like. There is a difference.
·
Ask for help when you need it. My door is always
open, and there are many people who can assist you, both inside and outside of
our school building.
[*] If you do not know how to
do this, or do not have the resources, make an appointment to work with me
after school. I am happy to help you in this process.
Friday, July 12, 2013
July 11th, 2013
7/11/13
In Class:
Distributed and reviewed missing work reports.
Mini-quiz: define melody.
Reviewed the process of integrating melody and lyrics (see notes from 7/9/13).
Practiced generating lyrics within constrains of melody using a collaborative creative exercise.
Discussed and defined genre: a classification of music based on lyrical, musical, affective, and cultural traits. Consider the nature of genre as a double-edged sword--it is a guiding factor for musicians and fans in some ways, but it also limits and narrowly defines the artistic/creative element of songwriting in other ways.
Independently, students worked on the following two assignments:
* Choose any genre about which you would like to learn more and complete the worksheet on common genre characteristics.
* Using at least one line or idea from our collaborative writing exercise, write two stanzas of 4+ lines.
Exit Ticket: Define genre.
Homework:
Finish the two assignments listed above.
In Class:
Distributed and reviewed missing work reports.
Mini-quiz: define melody.
Reviewed the process of integrating melody and lyrics (see notes from 7/9/13).
Practiced generating lyrics within constrains of melody using a collaborative creative exercise.
Discussed and defined genre: a classification of music based on lyrical, musical, affective, and cultural traits. Consider the nature of genre as a double-edged sword--it is a guiding factor for musicians and fans in some ways, but it also limits and narrowly defines the artistic/creative element of songwriting in other ways.
Independently, students worked on the following two assignments:
* Choose any genre about which you would like to learn more and complete the worksheet on common genre characteristics.
* Using at least one line or idea from our collaborative writing exercise, write two stanzas of 4+ lines.
Exit Ticket: Define genre.
Homework:
Finish the two assignments listed above.
Wednesday, July 10, 2013
July 9th, 2013
7/9/13
In Class:
Explicated "Take It or Leave It" by Sublime with Rome using the following guiding questions:
[Note: these guiding questions will be helpful for your final project; I recommend that you take them down as notes.]
Discussed the notion of inherent musicianship--the idea that we are all neurologically and physiologically programmed to understand and appreciate music in certain ways. See Bobby McFerrin's pentatonic scale experiment: McFerrin uses the untrained audience's natural, instinctive musicality to demonstrate our brain's capacity to create musical expectations.
Reviewed the definition of melody: the main musical theme or idea. Viewed an animation of Bach's "Little Fugue in G Minor" to recognize the concept of melodic theme, as well as variation and modulation of that theme.
While a melody can be any arrangement of pitches in rhythm, the best melodies rely on several characteristics. As Molly Ann-Leikin puts it in How to Write a Hit Song, ideal melodies are the ones you can sing in the shower. These melodies revolve around:
- catchiness (the 'stuck-in-your-head' element)
- repetition (the more times it is repeated, the more likely the listener is to remember it)
- voice leading (an untrained musician should be able to sing along--no crazy intervals, unnecessarily complex rhythms, etc.)
The best melodies integrate lyrics flawlessly, as if mimicking natural speech. This requires several techniques, specifically:
- matching syllabic measure and inflection (while this is not a set-in-stone rule, it helps in the "weaving" process)
- matching emotional message of the lyric with the emotional quality of the melody
- matching points of emphasis (long notes, high pitches, and hard articulations should mimic naturally-emphasized points in spoken word)
Next, we considered the idea of chord progressions. A chord progression is a repeating pattern of chords built on different degrees of the major scale: most songs' chord progressions can be analyzed by identifying the degree of the major scale from I-vii.
A chord progression is the musical analog to a lyrical premise: it is the foundational, supportive element that allows the melody to thrive. That said, there are specific 'stock' progressions that have been used very frequently in the last 70 years of popular music. Consider I-V-vi-IV (1-5-m6-4), or the "punk progression"--its prevalence is demonstrated by Axis of Awesome in their "Four Chord Song."
Exit Ticket: What are the four stylistic perspectives of songwriting?
Homework:
Borrow a melody from a song of your choice; then, write a 4+ line stanza with lyrics that integrates the melody using the techniques listed above.
In Class:
Explicated "Take It or Leave It" by Sublime with Rome using the following guiding questions:
[Note: these guiding questions will be helpful for your final project; I recommend that you take them down as notes.]
Discussed the notion of inherent musicianship--the idea that we are all neurologically and physiologically programmed to understand and appreciate music in certain ways. See Bobby McFerrin's pentatonic scale experiment: McFerrin uses the untrained audience's natural, instinctive musicality to demonstrate our brain's capacity to create musical expectations.
Reviewed the definition of melody: the main musical theme or idea. Viewed an animation of Bach's "Little Fugue in G Minor" to recognize the concept of melodic theme, as well as variation and modulation of that theme.
While a melody can be any arrangement of pitches in rhythm, the best melodies rely on several characteristics. As Molly Ann-Leikin puts it in How to Write a Hit Song, ideal melodies are the ones you can sing in the shower. These melodies revolve around:
- catchiness (the 'stuck-in-your-head' element)
- repetition (the more times it is repeated, the more likely the listener is to remember it)
- voice leading (an untrained musician should be able to sing along--no crazy intervals, unnecessarily complex rhythms, etc.)
The best melodies integrate lyrics flawlessly, as if mimicking natural speech. This requires several techniques, specifically:
- matching syllabic measure and inflection (while this is not a set-in-stone rule, it helps in the "weaving" process)
- matching emotional message of the lyric with the emotional quality of the melody
- matching points of emphasis (long notes, high pitches, and hard articulations should mimic naturally-emphasized points in spoken word)
Next, we considered the idea of chord progressions. A chord progression is a repeating pattern of chords built on different degrees of the major scale: most songs' chord progressions can be analyzed by identifying the degree of the major scale from I-vii.
A chord progression is the musical analog to a lyrical premise: it is the foundational, supportive element that allows the melody to thrive. That said, there are specific 'stock' progressions that have been used very frequently in the last 70 years of popular music. Consider I-V-vi-IV (1-5-m6-4), or the "punk progression"--its prevalence is demonstrated by Axis of Awesome in their "Four Chord Song."
Exit Ticket: What are the four stylistic perspectives of songwriting?
Homework:
Borrow a melody from a song of your choice; then, write a 4+ line stanza with lyrics that integrates the melody using the techniques listed above.
Sunday, July 7, 2013
July 2nd, 2013
7/2/13
In Class:
"Dictionary Game" on p. 66 of How to Write a Hit Song.
Instruction in Introduction to Musical Terminology:
tempo: the speed or pace of 'the beat'
instrumentation: the choice of instruments used
scale/key quality: the particular tonality of a song based on the notes used, specifically in regard to major ("happy") and minor ("sad") scales.
melody: the primary musical 'idea' or theme of a song. (Any sequence of pitches in rhythm.)
Well-written songs integrate lyrics with melody so that the musical line sounds like natural speech patterns, specifically in terms of meter and emphasis. In order to accomplish this process, some writers find it easier to write melody first, then lyrics, while others compose lyrics and then match a melody: “Sail” by AWOLNation v. “Redemption Song” by Bob Marley.
Independently, students worked on the three following tasks:
* Read p. 13-9 of How to Write a Hit Song, taking notes to submit.
* Using one of the songs you picked out for your 15-song assignment, describe the tempo, instrumentation, and key quality. Identify and describe the melody.
* Complete the dictionary exercise from the beginning of class.
Exit Ticket: Which should you write first—the melody or the lyric?
Homework:
Finish the three assignments listed above.
In Class:
"Dictionary Game" on p. 66 of How to Write a Hit Song.
Instruction in Introduction to Musical Terminology:
tempo: the speed or pace of 'the beat'
instrumentation: the choice of instruments used
scale/key quality: the particular tonality of a song based on the notes used, specifically in regard to major ("happy") and minor ("sad") scales.
melody: the primary musical 'idea' or theme of a song. (Any sequence of pitches in rhythm.)
Well-written songs integrate lyrics with melody so that the musical line sounds like natural speech patterns, specifically in terms of meter and emphasis. In order to accomplish this process, some writers find it easier to write melody first, then lyrics, while others compose lyrics and then match a melody: “Sail” by AWOLNation v. “Redemption Song” by Bob Marley.
Independently, students worked on the three following tasks:
* Read p. 13-9 of How to Write a Hit Song, taking notes to submit.
* Using one of the songs you picked out for your 15-song assignment, describe the tempo, instrumentation, and key quality. Identify and describe the melody.
* Complete the dictionary exercise from the beginning of class.
Exit Ticket: Which should you write first—the melody or the lyric?
Homework:
Finish the three assignments listed above.
Friday, June 28, 2013
June 27th, 2013
6/27/13
In Class:
Over the performed progression, write two stanzas using at least 6 of the words on the board.
- rain - time - release
- lie - skin - help
- scamper - parachute - defenestrate
- fluffy - recipe - disastrous
Instruction in three concepts of constructing a song: premise, structure, and repetition.
Premise: the foundational and defining idea. Often outlined by the song title and/or chorus. The premise is what makes a song unique and interesting: “I miss you” has been done, but “Can I come home for the summer? / I could slow down for a little while. / Get back to love and each other, / Leave all those long and lonesome miles behind” is more personal and intriguing. “I love looking at you” is weird and sort of boring, but “You are a cinema” is a powerful metaphor. Oftentimes, identifying and articulating the premise of the song you want to write is the best place to start: it will help you determine tone, style, structure, and give you a solid starting point for your lyrics. Also known as a “focus” in How to Write a Hit Song. Structure: define terms intro, verse, chorus, bridge, outro. Identify common contemporary structures – VCVCVC, VCVCBC, CVVCVC etc. Note that while some songs deviate from these common structures in their own way, most relate back to it fairly easily. Some songs completely deviate from this structure very deliberately to create a more scattered and confusing mood. Repetition: patterns and repetition are crucial in and literature. By repeating an idea or phrase, the author draws closer attention to it, persuading the audience to read into it more deeply. Additionally, repetition can help guide the lyrics and the structure of the song. The most common use of repetition in contemporary songwriting is the implementation of a chorus.
Practiced identifying Premise, Structure, and Repetition using “Alive with the Glory of Love” by Say Anything.
Independently, students practiced identifying these traits by explicating a song of their choice:
- Articulate and explain the premise; how is this different from every other song? Be specific.
- Map out the song structure using VCB notation.
- Underline any repetition you find.
Independently, each student began generating a list of ten premises for songs: you can use anything, but be creative.
Exit ticket: Identify one of the most common song structures (VCB notation).
Homework:
Finish your list of 10 premises.
In Class:
Over the performed progression, write two stanzas using at least 6 of the words on the board.
- rain - time - release
- lie - skin - help
- scamper - parachute - defenestrate
- fluffy - recipe - disastrous
Instruction in three concepts of constructing a song: premise, structure, and repetition.
Premise: the foundational and defining idea. Often outlined by the song title and/or chorus. The premise is what makes a song unique and interesting: “I miss you” has been done, but “Can I come home for the summer? / I could slow down for a little while. / Get back to love and each other, / Leave all those long and lonesome miles behind” is more personal and intriguing. “I love looking at you” is weird and sort of boring, but “You are a cinema” is a powerful metaphor. Oftentimes, identifying and articulating the premise of the song you want to write is the best place to start: it will help you determine tone, style, structure, and give you a solid starting point for your lyrics. Also known as a “focus” in How to Write a Hit Song. Structure: define terms intro, verse, chorus, bridge, outro. Identify common contemporary structures – VCVCVC, VCVCBC, CVVCVC etc. Note that while some songs deviate from these common structures in their own way, most relate back to it fairly easily. Some songs completely deviate from this structure very deliberately to create a more scattered and confusing mood. Repetition: patterns and repetition are crucial in and literature. By repeating an idea or phrase, the author draws closer attention to it, persuading the audience to read into it more deeply. Additionally, repetition can help guide the lyrics and the structure of the song. The most common use of repetition in contemporary songwriting is the implementation of a chorus.
Practiced identifying Premise, Structure, and Repetition using “Alive with the Glory of Love” by Say Anything.
Independently, students practiced identifying these traits by explicating a song of their choice:
- Articulate and explain the premise; how is this different from every other song? Be specific.
- Map out the song structure using VCB notation.
- Underline any repetition you find.
Independently, each student began generating a list of ten premises for songs: you can use anything, but be creative.
Exit ticket: Identify one of the most common song structures (VCB notation).
Homework:
Finish your list of 10 premises.
Thursday, June 27, 2013
June 25th, 2013
6/25/13
In Class:
Over the performed progression, write a 4-line stanza using one of the following phrases:
- We are like birds - Each day is the same
- They wore each other like a pair of socks - Death is one thing
- Lost within maps and compasses - But you’ve always told me
Instruction in The Stylistic Perspectives of Songwriting:
What approach(es) does the writer use to frame the lyrics of this song?
‘Narrative’ – i.e., this is what happened
‘Expressive’ – i.e., this is who I am or how I feel
‘Social critique’ – i.e., this is the way the world is
‘Meta-song’ – i.e., this is a song
Who does the writer address?
1st person - Introspective - "I," "me," "myself," "we," etc. - works especially well with Narrative & Expressive
2nd person - Apostrophe - "you" (sing. and pl.), "yourself," etc. - works especially well with Social critique
3rd person - Generalized - "he," "she," "they," etc. - works especially well with Narrative & Social critique
To help expand and improve our explication process, we identified several questions to build our analysis:
* What makes this a “good” song, lyrically?
* What is the thematic message of this song? ~ With all of the following questions, ask “…and how does that affect my interpretation?”
* What sort of voice and vocabulary does the writer use?
* What stylistic perspective does this song use?
* Who is the intended audience of this song? Who does the writer address?
* Where does the writer use figurative language (e.g., metaphors, similes, personification, hyperbole)
* Where do you see rhyme and/or repetition?
Listened to “Unity” by Trevor Hall (feat. Matisyahu) to demonstrate the process of answering some of these questions.
Independently, students worked on the following assignments:
- Finish your 15-song research collection!
- Revise and polish your lyrical explication.
- Read from How to Write a Hit Song: Preface, p. 1-3 (do 'Schoolhouse' exercise).
Exit ticket: List the four stylistic perspectives of songwriting.
Homework:
Finish the assignments listed above.
Write!
In Class:
Over the performed progression, write a 4-line stanza using one of the following phrases:
- We are like birds - Each day is the same
- They wore each other like a pair of socks - Death is one thing
- Lost within maps and compasses - But you’ve always told me
Instruction in The Stylistic Perspectives of Songwriting:
What approach(es) does the writer use to frame the lyrics of this song?
‘Narrative’ – i.e., this is what happened
‘Expressive’ – i.e., this is who I am or how I feel
‘Social critique’ – i.e., this is the way the world is
‘Meta-song’ – i.e., this is a song
Who does the writer address?
1st person - Introspective - "I," "me," "myself," "we," etc. - works especially well with Narrative & Expressive
2nd person - Apostrophe - "you" (sing. and pl.), "yourself," etc. - works especially well with Social critique
3rd person - Generalized - "he," "she," "they," etc. - works especially well with Narrative & Social critique
To help expand and improve our explication process, we identified several questions to build our analysis:
* What makes this a “good” song, lyrically?
* What is the thematic message of this song? ~ With all of the following questions, ask “…and how does that affect my interpretation?”
* What sort of voice and vocabulary does the writer use?
* What stylistic perspective does this song use?
* Who is the intended audience of this song? Who does the writer address?
* Where does the writer use figurative language (e.g., metaphors, similes, personification, hyperbole)
* Where do you see rhyme and/or repetition?
Listened to “Unity” by Trevor Hall (feat. Matisyahu) to demonstrate the process of answering some of these questions.
Independently, students worked on the following assignments:
- Finish your 15-song research collection!
- Revise and polish your lyrical explication.
- Read from How to Write a Hit Song: Preface, p. 1-3 (do 'Schoolhouse' exercise).
Exit ticket: List the four stylistic perspectives of songwriting.
Homework:
Finish the assignments listed above.
Write!
Monday, June 24, 2013
June 20th, 2013
6/20/13
In Class:
Journal-- Write an imaginary "Day in the Life of _(your name)_" over the performed chord progression.
Discussed and defined explication: annotation, reflection, and analysis. Practiced explicating song lyrics as a class using "Ain't No Rest for the Wicked" by Cage the Elephant. Independently, each student then chose one song from the previous homework assignment and explicated the lyrics.
Exit Ticket: Thinking back to your childhood, remember one song you used to listen to all the time.
Homework:
Finish lyrical explication.
Finish 15 song assignment ASAP for late credit!
In Class:
Journal-- Write an imaginary "Day in the Life of _(your name)_" over the performed chord progression.
Discussed and defined explication: annotation, reflection, and analysis. Practiced explicating song lyrics as a class using "Ain't No Rest for the Wicked" by Cage the Elephant. Independently, each student then chose one song from the previous homework assignment and explicated the lyrics.
Exit Ticket: Thinking back to your childhood, remember one song you used to listen to all the time.
Homework:
Finish lyrical explication.
Finish 15 song assignment ASAP for late credit!
Tuesday, June 18, 2013
June 18th, 2013
6/18/13
In Class:
Welcome!
Distributed small notebooks and discussed the purpose.
Each student answered the following questions reflecting on goals, background, and expectations for the class:
1)What experience have you had with writing—in school and outside of school?
2) What sort of experiences have you had with songwriting and music? Do you sing and/or play an instrument?
3) Who is your favorite musician/artist?
4) What are your expectations of this class over the next six weeks? What do you want to get out of it?
5) What are your expectations of yourself over the next six weeks? What do you want from yourself?
2) What sort of experiences have you had with songwriting and music? Do you sing and/or play an instrument?
3) Who is your favorite musician/artist?
4) What are your expectations of this class over the next six weeks? What do you want to get out of it?
5) What are your expectations of yourself over the next six weeks? What do you want from yourself?
Reviewed course syllabus (see separate post).
Identified and discussed the three dimensions used to analyze songwriting: lyrical, musical, and affective.
The Dimensions of Songwriting
Lyrical Musical Affective
- Well-written song - Well-written music can - "Beyond explanation"--
lyrics can stand alone stand alone as instrumental. sort of.
as poetry. - Intricate, but not necessarily - Songs that are successful
- Using a variety of complex. in this dimension arouse
strategies and approaches, - Deliberately constructed to our sympathy, past life
lyrics reflect some create a certain 'space' for the experiences, and personal
particular truth about song. tastes.
life, culture, or humanity.
Songs that are all-around "well-written" are those that occupy the intersectional space of these dimensions--"The Plectrum":
Students began working on the first assignment-- Identify fifteen "well-written" songs, and compile the following information for each:
1) Title of song
2) Performing artist
3) Writer
4) Year of publication
5) Lyrics
6) YouTube link
7) A rating of 0-10 for
a) lyrical,
b) musical, and
c) affective dimensions.
Exit ticket: Choose one song as the soundtrack or theme song to your most recent summer vacation.
Homework:
Finish 15-song identification assignment.
Finish 15-song identification assignment.
Write!
Course Syllabus -- Contemporary Songwriting
Contemporary Songwriting
June 18th – July 25th,
2013
TTh 1:15-2:45, Room 1
Shane Abrams
Course Texts
Leikin, Molly-Ann. How to Write a Hit Song, 5th
Ed. New York: Hal Leonard, 2008. Print.
Note: the vast majority of course
texts will be provided in handouts; a folder, binder, or other organizational
system will be necessary.
The
following blog will also serve as a resource for disseminating materials and
texts:
Course Description
This
course endeavors to identify and analyze quality songwriting within a
contemporary framework, which will in turn furnish students with the abilities
and opportunities to create quality songs themselves. The class will examine
music and songwriting musically, lyrically, and affectively in order to
pinpoint the characteristics and techniques behind a well-written song.
Students will complete the course with a greater appreciation and understanding
of songwriting as a multidimensional and timeless art form and expressive
medium.
Learning Outcomes and
Essential Questions
During
this course, students will develop the ability to…
· analyze a variety of music
lyrically, musically, and affectively.
· identify qualities and strategies of
expert songwriting in contemporary society.
· compose, revise, and share
original works that incorporate awareness of effective songwriting techniques.
· demonstrate growth in reading,
writing, speaking, and listening through the lens of the creative process.
We will
aim to explore—perhaps even answer—some of the following questions:
· What defines a “good” song?
· How is contemporary music related
to and independent of the music that has preceded it?
· How does music relate to our
society, history, culture, and individuality?
· What strategies do professional
songwriters use to create successful music?
Outcomes Assessment
The
following assignments will be used to assess students’ progress toward learning
outcomes: participation & attendance (graded daily); frequent independent
writing; in-class and out-of-class assignments; and a final portfolio.
Additionally, other artistic or academic assignments will be collected and
assessed when the instructor sees appropriate.
Classroom Policy –
Grading, Attendance, and Comportment
Grades
for Contemporary Songwriting will be calculated on a points-based scale; i.e.,
each assignment, including long-term projects and daily participation grades,
will be valued at a certain number of points possible. Over the 6-week course,
points possible will amount to roughly 800-1000 points. At any time, a student
may request his or her grade, and I will do my best to provide a response in a
timely fashion.
Extra
credit will not be provided, barring
unforeseen, extenuating circumstances; therefore, students are expected to
complete each and every assignment to the best of their respective abilities.
Opportunity for success will not be withheld: each student will have the chance
to excel, in terms of grades and
personal growth. However, the burden lies upon the student to optimize these
opportunities.
Students
should attend all classes as possible. There will be only 12 sessions of Contemporary
Songwriting; each absence is detrimental to learning potential. I will not
deduct points for absences, whether they are excused or unexcused. However,
students are always responsible for information, work, and cumulative
assignments which they miss when absent: missing multiple classes will
unforgivingly hinder a student’s academic success. If a student misses class, I
advise visiting the course blog – http://boulderprepsongwriting.blogspot.com/—
to see what she or he missed and what she or he needs in order to catch up. If
you know in advance that you will miss a class, please consult with me
beforehand.
Students are expected to arrive to
class on time.
This means that each student should be sitting at a desk with all necessary
materials, including any assigned reading for the class, ready to begin working
at 1:15. This does not mean walking from the Commons to the classroom at 1:15; this
does not mean arriving at 1:14 and leaving to use the bathroom until 1:20. In regards to breaks: there will be no
out-of-class breaks. You should think of yourselves as adults during this
class: leave the classroom only when you must and only when it is appropriate. At the maximum, only one student should be
out of the classroom at any given time.
My
classroom is a place for personal growth, be it intellectual, emotional, or
otherwise. I expect all students to help me maintain an environment conducive
to such growth. All students are entitled to the right to improve and evolve,
and no person should infringe upon this right in any manner. My classroom will
be a safe and respectful environment for my students to exercise their right to
learn.
Course
Specific Grades:
Daily
participation – 10 pts. / day
Journal
checks – 120 pts.
General
assignments – approx. 300 pts.
Final
portfolio – 300 pts.
* see particular assignment sheets for specific breakdown and
expectations
Academic
Honesty
Plagiarism
and cheating, whether intentional or unintentional, shall not be tolerated.
Every student is expected to follow any and all codes of academic honesty
endorsed by Boulder Preparatory High School.
Electronic
Devices
In order
to facilitate the development of a respectful and focused classroom
environment, students are asked to refrain from the use of cell phones and
other unnecessary and/or distracting devices during class time. When you are in
class, regardless of the nature of the activity, your cell phone should be put
away, your music device shut off, and any other devices out of sight. Devices
that seem to be distracting any student will be impounded for the remainder of
the period.
Materials Needed
Please
bring these things to class every day:
Writing
materials (pen/pencil, paper)
Course
texts (handouts, assignments, etc.), including How to Write a Hit Song
Writing
notebook
Binder,
folder, or other organizational system for hand-out readings
Approximate Schedule of
Study and Curriculum
This
schedule is a rough estimate and is subject to change.
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Week one (6/17 - 6/20) –
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Lyrical
Analysis
Annotation/explication
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Week two (6/24 - 6/27) –
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Lyrical
Composition
Song structure, inspiration,
and figurative language
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Week three (7/1 - 7/4) –
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Musical
Analysis
Genre, style, and
musical foundations
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Week four (7/8 - 7/11) –
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Musical
Analysis and Composition
Chord progressions
and melodic structure
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Week five (7/15 - 7/18) –
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Integrating
Lyrics and Music
Scansion,
emphasis, and affective consistency
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Week six (7/22 - 7/25) –
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Summative
Closure
Portfolio
preparation and revision
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Miscellaneous
I reserve
the right to amend or alter this syllabus; please note that any changes are
made in an effort to create the best possible academic environment. I will
notify students of any such changes as promptly as possible.
I
wholeheartedly welcome feedback. Please do not hesitate to provide response to
my teaching practices, assignments, etc.—but please provide this feedback while
class is not in session.
------------------------------------------------------------------------------------------------------------------------------------------
[Please detach and return this section.]
I,
_______________________________, hereby acknowledge that I have received and
reviewed this
(print
name)
syllabus.
Any questions or concerns that have arisen have been addressed adequately.
I
recognize that I am a student: I am capable of anything I encounter in this
course, though it may be challenging—and it should be challenging. I will not
state that I “can’t” do something, but that I “can’t yet.” I will ask for help
when I need it, whether assistance is from Shane, from my peers, or from another
responsible individual.
I will
contribute to a classroom environment which is healthy, fun, welcoming,
intellectual, emotional, and safe, among other things.
I will
respect everyone’s educational opportunities; I will respect our building; I
will respect my peers’ and instructors’ belongings; I will respect everyone’s
right to make amends.
I will be
the best person—intellectually, socially, and otherwise—that I can be.
_____________________________________ __________________
(signature) (date)
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