On this webpage you will find OER Music textbooks along with supplemental materials and a few lecture videos.
The purpose of these discipline-specific pages is to display content that might be of interest to faculty who are considering adopting open educational resources for use in their classes. This list of content is by no means exhaustive. The nature of open educational resources is very collaborative and it is in that spirit that we encourage any comments about the content featured on this page or recommendations of content that are not already listed here.
On this webpage you will find OER Music textbooks along with supplemental materials and a few lecture videos.
On this webpage you will find OER Theatre and Dance textbooks along with supplemental materials and a few lecture videos. The purpose of these discipline-specific pages is to display content that might be of interest to faculty who are considering adopting open educational resources for use in their classes. This list of content is by no means exhaustive. The nature of open educational resources is very collaborative and it is in that spirit that we encourage any comments about the content featured on this page or recommendations of content that are not already listed here.
"Amy Absher's The Black Musician and the White City tells the story of African American musicians in Chicago during the mid-twentieth century. While depicting the segregated city before World War II, Absher traces the migration of black musicians, both men and women and both classical and vernacular performers, from the American South to Chicago during the 1930s to 1950s.
Absher's work diverges from existing studies in three ways: First, she takes the history beyond the study of jazz and blues by examining the significant role that classically trained black musicians played in building the Chicago South Side community. By acknowledging the presence and importance of classical musicians, Absher argues that black migrants in Chicago had diverse education and economic backgrounds but found common cause in the city's music community. Second, Absher brings numerous maps to the history, illustrating the relationship between Chicago's physical lines of segregation and the geography of black music in the city over the years. Third, Absher's use of archival sources is both extensive and original, drawing on manuscript and oral history collections at the Center for Black Music Research in Chicago, Columbia University, Rutgers's Institute of Jazz Studies, and Tulane's Hogan Jazz Archive. By approaching the Chicago black musical community from these previously untapped angles, Absher offers a history that goes beyond the retelling of the achievements of the famous musicians by discussing musicians as a group. In The Black Musician and the White City, black musicians are the leading actors, thinkers, organizers, and critics of their own story"--Publisher's website.
Improvisation and composition are words frequently used in the western world to describe the creation of music. But are they really two distinct processes, or are they aspects of the same phenomenon? In this unit we will explore the relationships between the two using examples of Asian music to help us clarify the concepts.
How do different instruments produce the sounds we classify as music? How do we decide whether something - a piano, a vacuum cleaner - is actually a musical instrument? In this unit we investigate the way vibrations and sound waves are harnessed to create music.
Open Moodle course shell.
This course is designed to train prospective teachers, theater students and those interested in broadening their creativity, in the skills of leading creative drama sessions in the classroom, studio or recreational facility. Students explore and develop theories and concepts of Creative Drama through active learning. All classes involve movement-based exercises ranging from improvisational games to rigidly set up activities. Class activities are designed to promote drama as an art, a discipline, as well as a means of supporting a curriculum unit.
Dance communicates ideas through movement and is an expressive art form. Students need to learn how to use their body in a safe and healthy way, whilst developing a wide-ranging movement vocabulary. The use of different dance techniques can be an effective way of building vocabulary and developing different kinds of skills and abilities. Technical dance skills can form the foundation on which to develop and enhance each individual's performance. As dance teachers, we may have a range of skills, but it isn't always possible to possess expertise in every type of dance style and technique. Having the knowledge and experience to teach African Dance forms, Jazz Dance or Hip Hop to students is a great way of introducing them to a variety of styles and can be a rich and rewarding process. However, many teachers in schools and colleges work within a Contemporary Dance style because it will have been the basis of their education and training; it is also the point of reference for this unit.
In the sections of Chapter 1, we’ve included interactive learning content to test your knowledge over Theater history and production, with many knowledge checks over Theatrical Worlds, Edited by Charles Mitchell, as well as Playhouse Square theaters and productions, and other theater content. This content can be used by Theater students anywhere in the world, but will be helpful to those reading Theatrical Worlds.
In Chapter 2, there are analyses of local live performance, written by CSU Theater students and Heather Caprette. They serve as examples of exemplary work for the open assignment 2, as well as provide information about performances of interest to the public theater goers. * A Note of Caution: These analyses can not be copied by other Theater students to satisfy the requirement for an assignment in a course, but will give an idea of what a well written analysis paper looks like. Copying of these assignments to turn in as your own assignment constitutes plagiarism and academic misconduct.
Chapter 3, is an example of how a group of students working together on the recreation of a scene or small part of a play can share their ideas. The part should be less than 10% of a play. The example is being produced by Heather Caprette, MFA, but in the assignment, different students would work on various aspects of the theater production. Elements recreated include: dialogue, character design, set design, stage lighting, costume design, and sound design.
At this time, it’s best to view the Pressbook in Chrome browser, due to some display issues caused by a recent upgrade.
This text provides readers with a comprehensive study of the theory and analysis of tonal Western art music. Author Andre Mount begins by building a strong foundation in the understanding of rhythm, meter, and pitch as well as the notational conventions associated with each. From there, he guides the reader through an exploration of polyphony—the simultaneous sounding of multiple independent melodies—and an increasingly rich array of different sonorities that grow out of this practice. The book culminates with a discussion of musical form, engaging with artistic works in their entirety by considering the interaction of harmonic and thematic elements, but also such other musical dimensions as rhythm, meter, texture, and expression.
This collection uses primary sources to explore the golden age of musical theatre on Broadway. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.
Introduction to Music Appreciation is about listening, appreciating, understanding, and discussing music. It explores the history, aesthetics, and criticism of Western music for an enhanced understanding of the topic. Chapters include:
Musical Elements, Critical Listening, and Course Overview;
Early Western Art Music;
The Baroque Era;
The Classical Era;
The Romantic Period;
Music of the World.
This series is one part of UC Irvine's Musicianship 15 ABC sequence for music majors. An understanding of music notation and basic musical terms is helpful but not required for these presentations. The math involved is basic.
An Introduction to Technical Theatre draws on the author’s experience in both the theatre and the classroom over the last 30 years. Intended as a resource for both secondary and post-secondary theatre courses, this text provides a comprehensive overview of technical theatre, including terminology and general practices.
Introduction to Technical Theatre’s accessible format is ideal for students at all levels, including those studying technical theatre as an elective part of their education. The text’s modular format is also intended to assist teachers approach the subject at their own pace and structure, a necessity for those who may regularly rearrange their syllabi around productions and space scheduling.
"The Jazz Republic examines jazz music and the jazz artists who shaped Germany's exposure to this African American art form from 1919 through 1933. Jonathan O. Wipplinger explores the history of jazz in Germany as well as the roles that music, race (especially Blackness), and America played in German culture and follows the debate over jazz through the fourteen years of Germany's first democracy. He explores visiting jazz musicians including the African American Sam Wooding and the white American Paul Whiteman and how their performances were received by German critics and artists. The Jazz Republic also engages with the meaning of jazz in debates over changing gender norms and jazz's status between paradigms of high and low culture. By looking at German translations of Langston Hughes's poetry, as well as Theodor W. Adorno's controversial rejection of jazz in light of racial persecution, Wipplinger examines how jazz came to be part of German cultural production more broadly in both the US and Germany, in the early 1930s.
Using a wide array of sources from newspapers, modernist and popular journals, as well as items from the music press, this work intervenes in the debate over the German encounter with jazz by arguing that the music was no mere "symbol" of Weimar's modernism and modernity. Rather than reflecting intra-German and/or European debates, it suggests that jazz and its practitioners, African American, white American, Afro-European, German and otherwise, shaped Weimar culture in a central way"--Publisher's website.
This collection uses primary sources to explore the cultural impact of swing dancing. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.
This course is a survey of the world's music with attention to musical styles and cultural contexts. Included are the musical and cultural histories of Ociania, Indonesia, Africa, Asia, and Latin America.
1. Demonstrate an understanding of diverse peoples, cultural communities, and traditions while reflecting upon and challenging individual and societal ethnocentrism.
2. Describe and discuss music using appropriate terminology relevant for the field of ethnomusicology.
3. Analyze and identify music from a global intercultural perspective using analytical and critical listening skills.
4. Explain artistic, social, historical, and cultural contexts of world music.
"The purpose of this course is to help students further enhance their appreciation for music as a creative tool of the imagination, as entertainment, and as a window into who we are as social beings. Part of the course also helps students to advance their listening skills, which leads to a better understand of what music actually contains. For this purpose, the course explores western classical music; American folk, popular and religious music; along with a sampling of music from non-western cultures.
Course content is divided into modules. Each module includes text readings, listening examples, videos, and study/review questions. Thought-provoking discussion board topics, written assignments, Power Point presentations, and group projects are also included in some of the modules"--Open Course Library.
"The author of this text has intentionally kept it general in nature in order to create a platform for those who want to expand content into more in depth studies of the mentioned concepts and traditions. I believe that appreciation of any subject comes from open-minded exposure to that topic. With the arts this generally must happen at a moment when the message and meaning of the work resonates naturally with the appreciator.
Each instructor of music appreciation brings a unique expertise in differing genres. I encourage you to utilize this text along with musical examples of your choice. The music appreciation specific goals (found in the syllabus) vary between individual classes as the instructors see fit. These goals will be achieved by those who have competently met all of the requirements of the course. For the course that this text accompanies the goals for each student are:
To gain basic exposure to the elements of music and their treatment in music
To learn historical and cultural signifiers in a diverse body of music • To approach listening to music actively/analytically and to reflect on the experience
To understand the factors that contribute to musical style in their own music and music presented in the course
To gain knowledge about differing musical aesthetics and trends
To become more knowledgeable and sensitive to varied human expression through music
If we endeavor together to reach these course goals the successful student will be able to:
Describe elements of music that s/he hears, employing correct musical terminology
Place music into an appropriate historical and cultural context
Listen critically and discuss a wide variety of musical styles
Analyze the stylistic features of a diverse group of musical styles
Identify nationalistic tendencies in musical expression
Identify musical diversity and aspects of our global society"--Galileo Open Learning Materials.
This course is divided into three sections: 1 - the personal experience with music; 2 - the logical, historical, mathematical aspects of music; 3 - the abstract power of music.
This module addresses the following music fundamentals topics:
1 Introduction to Pitch Notation in Music
3 Introduction to the Piano Keyboard
4 Pitch: Sharp, Flat, and Natural Notes
5 Chromatic and Diatonic Half Steps
6 Octave Designations in Music
7 Key Signature
8 Major Keys and Scales
9 Scale Degrees of the Diatonic Scale
10 Enharmonic Spelling
11 The Circle of Fifths