Syllabus for MUAS 5322 Analysis of Music Production May 2016 Term

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1 Syllabus for MUAS 5322 Analysis of Music Production May 2016 Term Class Times: Monday through Friday, 10 am 3 pm (12-1, lunch break) Instructor: John Bryant SMU ID cell Course Description and Objectives: This course will provide a basic, yet broad understanding of the function of a Music Producer in both artistic and music business environments. The goal is to provide a forum to discuss and demonstrate how the role of Music Producer is concentric to all decisions in defining and recording artistic endeavors, as they exist within the marketplace or elsewhere. Whether working with a director in producing music for a film score, collaborating with a songwriter to define an expression, working with a composer to achieve an artistic vision, or understanding how an advertising agency needs musical help in order to sell a product, the Music Producer must be able to coordinate the procedure with the vision. Even when the Music Producer is also the artist, composer, recording engineer, and financier, he/she must step outside of all other roles to plan how the end result can best be achieved. By the end of the term, students will have an understanding of the process through which any musical work can best be defined as a recording or live performance. Instructor Biography John Bryant has served as a Music Producer for over 25 years working with recording artists and songwriters, producing music for Emmy Award winning films, theatrical dance companies, and TV / Radio commercials. He has worked with Ray Charles, Don Henley, Joe Walsh, Dallas Black Dance Theatre, Stewart Copeland, The Dallas Symphony, and D Drum, among many others. Course Objective: This course addresses the need of artists, composers, music teachers, and music business students to understand the process of how a work progresses from creation to a defined recording. It also addresses copyright, publishing, and complements all music courses, including Arts Entrepreneurship courses.

2 Students will learn: *Coordination of the procedure with the artistic vision *Techniques of Renowned Producers *The Record Deal, The Budget, The Timetable, *Project Management *Publishing and Copyright *Recording Techniques *Union vs Non-Union Recording Issues *Digital vs Analog technology Location: Mostly classroom, with class recording projects using SMU Electronic Recording facility for two days. Check my.smu Required Text: Owsinski, Bobby. The Music Producer s Handbook Berklee School of Music. Hal Leonard Publishing Corporation, $34.99 Required Materials: Notebooks/laptops; ability to bring in audio and/or video files for classroom discussion. Course Schedule: May 2016 Term In addition to lectures, video and audio examples of various styles of music production will be used to clarify various points in class each day. Part I: Background and Foundations of Music Production May 12 May 13 May 16 Defining Four Areas of Music Production: Artist Film Score / Visual Synchronization Advertising Self Production History of Music Production: Label Era Independent Era Modern Era Due: Assignment 1 The Elements of Music Production: Project Management Creative Due: Assignment 2

3 May 17 May 18 May 19 The Elements of Music Production: Financial Political Due: Assignment 4 The Business of Music Production: The Deal The Budget Due: Assignment 5 The Business of Music Production: Musicians Union / Non - Union Recording Fund Concept Due: Assignment 6 Part 2: The Mechanics of Music Production May 20 May 23 Pre-Production - Classroom: Pre-Production - Studio: Defining the Vision with Client The Creative Work Due: Assignment 8 Creating and recording demos Home studio software and recording devices Due: Assignment 9 May 24 Recording Session Preparation: Coordination and Scheduling Recording engineer, Studios, Musicians Arrangers and Copyists Financial Arrangements Due: Assignment 10 Part 3: The Recording Session Class in Meadows Electronic Recording Studio May 25 Basic Recording Session: Click tracks, electronic tracks Live Musicians and Vocalists May 26 Final Exam Mixing and Mastering Recording Sessions: Delivery Formats Bills and obligations resolution

4 Graded Elements: Assignment 1: Read corresponding chapters in assigned text. Be prepared to discuss the following day. Assignment 2: Read corresponding chapters in assigned text. Bring to class audio examples of each era and be prepared to discuss. Assignment 3: Read corresponding chapters in assigned text. Be prepared to discuss. Assignment 4: Read corresponding chapters in assigned text. Turn in a 2-page essay on how the four elements come together to define your goals as a producer. Assignment 5: Read corresponding chapters in assigned text. Be prepared to discuss. Assignment 6: Read corresponding chapters in assigned text. Discuss lecture material on how the 4 business topics vary in relation to the 4 categories of production: 1-Artist 2-Film Score 3-Advertising 4-Self Production Assignment 7: Read corresponding chapters in assigned text. Conduct mock interviews in classroom with students switching roles as producer and client. Assignment 9: Lab session with instructor in SMU Recording facility working on demos brought in by the class. Assignment 10: Review all information about recording session preparation for test. Evaluation: Periodic testing and final exam Classroom participation in discussion of Assignments (as listed below) Classroom and studio demonstrations of music examples Attendance: Attendance is expected for all class sessions. Absences may be excused for serious illness (a doctor's note must be presented upon returning) or for significant professional opportunity (if approved in advance by the Director of the Division of Music). Beginning with the third unexcused absence, the final grade will be reduced by one letter grade per absence. Promptness is critical to a musician s success in the professional world. Two late attendances will be counted as one unexcused absence. * Disability Accommodations: Students needing academic accommodations for a disability must first contact Disability Accommodations & Success Strategies (DASS) at or to verify the disability and to establish

5 eligibility for accommodations. They should then schedule an appointment with the professor to make appropriate arrangements. (See University Policy No. 2.4; an attachment describes the DASS procedures and relocated office.) * Religious Observance: Religiously observant students wishing to be absent on holidays that require missing class should notify their professors in writing at the beginning of the semester, and should discuss with them, in advance, acceptable ways of making up any work missed because of the absence. (See University Policy No. 1.9.) Excused Absences for University Extracurricular Activities: Students participating in an officially sanctioned, scheduled University extracurricular activity should be given the opportunity to make up class assignments or other graded assignments missed as a result of their participation. It is the responsibility of the student to make arrangements with the instructor prior to any missed scheduled examination or other missed assignment for making up the work. (University Undergraduate Catalogue)

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