Music (MUS) |
121 Music, 541-346-3761
School of Music
|
|
8 - No cost for class textbook materials.
 - Wait list is available when course is full |
|
Course Data
| MUS 227 Elements of Electronic >1 |
4.00 cr. |
| Introduction to experimental and popular electronic music. Topics include fundamental elements of musical construction, history, technology, composers, musicians, copyright law, sampling, styles, and aesthetics. |
| Grading Options: |
Optional; see degree guide or catalog for degree requirements
|
| Instructor: |
Hatakeyama A |
Office:
71 Frohnmayer Music Bldg
Phone:
(541) 346-8947
|
| Course Materials |
|
| |
| |
CRN |
Avail |
Max |
Time |
Day |
Location |
Instructor |
Notes |
| |
24180 |
110 |
160 |
1400-1520 |
tr |
180 PLC |
Hatakeyama A |
8 |
|
Academic Deadlines
| Deadline |
Last day to: |
| January 5: |
Process a complete drop (100% refund, no W recorded) |
| January 11: |
Drop this course (100% refund, no W recorded; after this date, W's are recorded) |
| January 11: |
Process a complete drop (90% refund, no W recorded; after this date, W's are recorded) |
| January 12: |
Process a complete withdrawal (90% refund, W recorded) |
| January 12: |
Withdraw from this course (100% refund, W recorded) |
| January 13: |
Add this course |
| January 13: |
Last day to change to or from audit |
| January 19: |
Process a complete withdrawal (75% refund, W recorded) |
| January 19: |
Withdraw from this course (75% refund, W recorded) |
| January 26: |
Process a complete withdrawal (50% refund, W recorded) |
| January 26: |
Withdraw from this course (50% refund, W recorded) |
| February 2: |
Process a complete withdrawal (25% refund, W recorded) |
| February 2: |
Withdraw from this course (25% refund, W recorded) |
| February 23: |
Withdraw from this course (0% refund, W recorded) |
| February 23: |
Change grading option for this course |
 | You can't drop your last class using the "Add/Drop" menu in DuckWeb. Go to the “Completely Withdraw from Term/University” link to begin the complete withdrawal process. If you need assistance with a complete drop or a complete withdrawal, please contact the Office of Academic Advising, 101 Oregon Hall, 541-346-3211 (8 a.m. to 5 p.m., Monday through Friday). If you are attempting to completely withdraw after business hours, and have difficulty, please contact the Office of Academic Advising the next business day. |
|
|
Expanded Course Description
| Generally, the music of any culture evolves at a slow and steady rate, shaped by technology, socio-political structure, time period, resources, culture, and many other factors. But occasionally, something occurs that causes a quantum leap in evolution. In the 1780s, people gained the ability to harness the power of the electron. This sparked a paradigm shift with how musical instruments could be constructed and how music itself is produced, performed, and consumed.
The primary objective of this Arts & Letters group-satisfying course is to expand one’s awareness of the music we hear and listen to every day. This course will develop the necessary tools to talk about, critique, understand, and appreciate various forms of musical expression. We will learn about several fundamental building blocks including pitch, harmony, melody, rhythm, meter, timbre, form, and orchestration. A basic understanding of traditional musical practice is also necessary if one is to fully illustrate how technology transformed these paradigms. The first section of the course will be grounded in brief survey of western classical music traditions leading up to electronic media. The scope of the electronic music studies will survey influences and movements across a variety of cultures from 1780 to the present day.
By the end of the course, students will have gained the facility with basic musical elements and the ability to apply these concepts to critically listen to and talk about various forms of music. Students will gain a heightened awareness for how technology continues to transform how music is produced, performed and consume in both popular and experimental (art) genres. Students will also be able to discuss the ethical, technological, creative, social, cultural and legal implications for copyright in the age of digital sampling. And finally, students will be able to identify and name a variety of electronic process in the music they listen to every day (i.e. filtering, FX, panning, auto-tune, phase vocoding, etc).
|
|
|
