Global Studios Ensemble Workshop
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General
Course Long Title
Global Studios Ensemble Workshop
Subject Code
MCMP
Course Number
667
School(s)
Program(s)
ExPop
Academic Level
GR - Graduate
Description
Students in this class will form remote collaborative music ensembles with guest artists that will include producers of left-field dance music from across the globe. Past collaborations have involved Bergsonist (Morocco/ NYC), MC Yallah (Uganda), Debmaster (Germany), Francis Ayamga/Top Link Studios (Ghana), Adham Zidan (Egypt), Lucas Santtana (Brazil), The Meridian Brothers (Colombia), Takako Minekawa (Japan), Dustin Wong (LA) and Ela Orleans (Poland / France).
This course will explore how hybridity as a model for collaboration and composition manifests itself in record production and is afforded and transformed by remote technologies and conditions (in-person vs. remote, actual vs. virtual, local vs. global). How can we develop and explore new models for collaboration using remote technology, such as "networked sound collages" or "collaborative DAWs," that afford greater opportunity for heterogeneous cultural production and the creation of audiotopias? Using the "human signal chain" as the basis for compositional strategies that utilize the "virtual" and the "global" (alongside the "actual" and the "local"), this course will facilitate ensembles that can move fluidly between in-person, on-campus rehearsals, and remote, off-campus collaboration (using collaborative DAWs that live in the cloud), expanding ensembles to include musicians from all over the globe. Through projects that examine sound transmission and transmutation, deconstruction and decontextualization, assemblage/collage, deterritorialization and the audiotopia, students will work through the aesthetic, technical, and interpersonal challenges that remote collaboration entails. We will explore how these aesthetics manifest themselves in everything from Musique Concrete to Hip-Hop, Dub, Post-Punk, Remix Culture and Punk Ethnography.
Students are encouraged, but not required, to co-register for "Ambient and Otherworldly Music."
This course will explore how hybridity as a model for collaboration and composition manifests itself in record production and is afforded and transformed by remote technologies and conditions (in-person vs. remote, actual vs. virtual, local vs. global). How can we develop and explore new models for collaboration using remote technology, such as "networked sound collages" or "collaborative DAWs," that afford greater opportunity for heterogeneous cultural production and the creation of audiotopias? Using the "human signal chain" as the basis for compositional strategies that utilize the "virtual" and the "global" (alongside the "actual" and the "local"), this course will facilitate ensembles that can move fluidly between in-person, on-campus rehearsals, and remote, off-campus collaboration (using collaborative DAWs that live in the cloud), expanding ensembles to include musicians from all over the globe. Through projects that examine sound transmission and transmutation, deconstruction and decontextualization, assemblage/collage, deterritorialization and the audiotopia, students will work through the aesthetic, technical, and interpersonal challenges that remote collaboration entails. We will explore how these aesthetics manifest themselves in everything from Musique Concrete to Hip-Hop, Dub, Post-Punk, Remix Culture and Punk Ethnography.
Students are encouraged, but not required, to co-register for "Ambient and Otherworldly Music."