MMED703/PMED703 The Art of Teaching Songwriting for Music Educators, Level 2 Summer 2017 Instructor Kevin Hanson

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1 MMED703/PMED703 The Art of Teaching Songwriting for Music Educators, Level 2 Summer 2017 Instructor Kevin Hanson khanson@uarts.edu Required Texts/Materials *Text will be provided on first day of course for students Writing Better Lyrics, Pat Pattison Publisher: Writer's Digest Books; 2 Edition (January 8, 2010) ISBN-10: ISBN-13: Pre-Assignment 1. Make a list of 3 of your favorite songs. Try to memorize the lyrics and really get to know the song s structure. What is it that appeals to you about these songs? 2. Take a look at the course outline and familiarize yourself with the topic songs for each day. 3. We will discuss song form quite a bit. Have a look at this site: overview/ Program Objectives Students completing graduate music education coursework through The University of the Arts Utilize effective pedagogical methods to support student musicianship Utilize effective technological means to support student creativity through music Understand the sociological impacts and importance of music in education Evolve as creative and innovative musicians who share these musical strengths with their learners through teaching Understand, in a more sophisticated means, the diverse cultural, communal, sociological, psychological and learning needs of 21st century students Course Description The Art of Songwriting for Music Educators Level 2 provides music educators who have taken PMED/MMED701, The Art of Songwriting for Music Educators, the opportunity to deepen and refine their knowledge and understanding about the art of songwriting and how to teach songwriting to students. Students will explore and experience a more sophisticated understanding of the elements of a well-crafted song, and the essential elements of melody and lyrics. Advanced strategies and skills for writing and teaching songwriting through traditional methods, current methods in the use of technology, and creating through beats will be expanded upon. Music educators will employ innovative strategies that build upon the foundations established in the first course to continue to expand upon their creative capacities and those of their students. Student Learning Outcomes Students will Compose, using advanced songwriting methods, an original song Assess advanced methods and techniques of teaching songwriting to students of all ages in a reflective dialogue The University of the Arts 320 S. Broad Street Philadelphia, PA uarts.edu cs.uarts.edu/sms

2 Course Outline This week - long course will explore the craft of songwriting through the listening, analysis, and writing of songs. Each day of class will include discussions of a few selected songs, based on their form/structure. These songs will vary greatly in mood, groove, and lyrical content. Components of each featured song will include: Song Form Feel/Groove Melody Chord Progressions Lyrics: Content, Rhythm, and Rhyme Schemes Mood/Vibe Each class will also focus on: Daily discussions will also include: A Featured Songwriter Real-Time In-Class Songwriting Students Songs Discussion Day 1: What are the components of a song? What makes a song happy, sad, funny, anxious, yearning? - Performance, Lyrics, Melody, Chords, Groove, Instrumentation, Feel Common Terms for this class: Melody, Form, Section, Phrase, Bar, Measure, Intro, Verse, Chorus, Pre-Chorus, Bridge, Tag, Major, Minor, 7th, Sonata Form, Meter How do you write a melody? pick a rhythm, set it to a tune. Find the natural rhythm of a spoken phrase. Now sing it. Common Meter The 8 bar phrase with alternating number of stresses between lines (see list of songs- Mary Had A Little Lamb) Beth Nielsen Chapman Songwriting Tips Pat Pattison Prosody and Tone of Voice How To Read A Chord Chart: Somewhere Over the Rainbow AABA song form. See chart. *course outline continues on next page 2

3 AB Form Somebody That I Used To Know (Gotye) The Race Is On (George Jones) Tango Till They re Sore In The Neighborhood Tangled Up In Blue 3

4 Hotel California Gin and Juice Lyrics: Basic Rhythm Schemes and Sensory Image Writing Let s Write a Song: Parameters are your friend. If you need motivation, choose a groove, key, mood, rhythm, topic, etc. Sad Songs: I m So Lonesome I Could Cry - Hank Williams How Insensitive - A.C. Jobim Phoebe Snow - Harpo s Blues Funny Songs: Can t Get To Heaven On The Frankford El - The American Dream Weird Al Word Crimes Noel Coward I ve Been To A Marvelous party Interview excerpt: Pat Pattison Writing Fearlessly (4:00) Documentary Excerpt: Worth Repeating Additional Song Discussion: James by Huffamoose Day 2: Lyrics: Rhythm and Meter in Poetry and Lyrics (see attachments) Let s Write a Song: Rhythmic schemes help get your juices flowing. If music be the food of love, play on is an example of Iambic Pentameter. Common Meter explained with examples. Couplets, 2 by 2 s. Funny Songs: Spinal Tap Listen To The Flower People The Folksmen Blood On The Coals The Pogues Fairytale Of New York City Sad Songs: Alone Again - Gilbert O Sullivan Stay With Me - Stephen Sondheim (Bernadette Peters) All Her Favorite Fruit - Camper Van Beethoven 4

5 Happy Songs: Did I Hear You Say You Love Me In The Summertime Mungo Jerry Documentary Excerpts: Pat Pattison Electrify Your Writing With Verbs David Foster Songwriting Tips Additional Song Discussion: Take You With Huffamoose Blues Form The First Line Of A Blues-- 8 bar blues Key To The Highway Heartbreak Hotel Ain t Nobody s Business If I Do - Video with Chaka, Etta, Gladys Trouble In Mind (Nina Simone) 12 Bar Blues HoundDog (Big Mama Thornton) RedHouse (Jimi Hendrix) The Word, Why Don t We Do It In The Road (Beatles) Blue Monk (Thelonius Monk) Twisted (Lambert, Hendricks, and Ross) 16 Bar Blues Hoochie Coochie Man (Muddy Waters) watch?v=afxrlovwsee Let s Dance (The Ramones) v=7f1uwmc7i9k Ballad Of John And Yoko (Beatles) Day 3: Hallelujah Leonard Cohen Sonata Form: Exposition, Development, Recapitulation (Twinkle, Twinkle, Little Star) Lyrics: Imagery Town without Cheer by Tom Waits. Let s Write A Song: Just sit there a play a few chords till a melody shows up Documentary Excerpt: Pat Pattison Electrify Your Writing With Verbs Frozen Interview: The Beatles Talk About Bob Dylan Additional Song Discussion: Dark And Stormy - The Fractals 5

6 Songs That End with a Refrain This Land Is Your Land (Woody Guthrie) Tumblin Dice (Rolling Stones) I m So Lonesome I Could Cry (Hank Williams) Polly Wanna Cracka (Public Enemy) Day 4: Lyrics: Metaphor/Allegory Berklee Metaphor for Songwriting Let s Write a Song: What s another way to say that? Using metaphors, archetypes. Replace the mundane with something that resonates universally. Interview Excerpt: Neil Young: Songwriting, Trust, Doubt Randy Newman on songwriting Additional Song Discussion: Bombs Away The Fractals AABA Song Form Somewhere Over The Rainbow Arlen/Harburg (not the Hawaiian guy) Anything Goes Cole Porterhttps:// Crazy Willie Nelson Surfer Girl The Beach Boys I m Getting Sentimental Over You Washington/ Bassman Yesterday The Beatles Day 5: Lyrics: Always have your thesaurus and rhyming dictionary on hand. How many words do you know that mean beautiful? Let s Write a Song: From whence comes inspiration? Getting over writer s block immediately. 43e Interview: Songwriting For Film and TV 6

7 Extended Song Forms and Modern Verse- Chorus Structures Ashes To Ashes David Bowie Aja Steely Dan Over The Hills and Far Away Led Zeppelin Inca Roads Frank Zappa Jesse s Girl Rick Springfield Grading Criteria and Assessment Methods Course assessment, evaluation and grading is based upon three factors: (1) the completion of the pre-assignment, (2) active engagement in daily course studies and (3) in the completion of the final assignment/post-assignment. Below is the rubric that will be utilized by faculty to assess and evaluate students in these three categories of learning and understanding. Preassignment During class formative assessments Final/Postassignment Basic Provides basic/unsatisfactory content and concepts in preparation for this course. Fails to actively engage in course content, application, and engagement of daily coursework. Does not adequately complete the final assignment. Assignment may have been submitted late. Poor organization and lack of depth of knowledge evidenced. Average Accurately identifies content and concepts relevant to this course. Engages actively in course content and application of concepts in daily coursework. Final assignment/postassignment evidences appropriate structure and organization, understanding of course goals and outcomes. It is submitted on time. Superior Demonstrates a deep understanding and preparation of content and concepts relevant to this course. Demonstrates a thorough and deep engagement in course content, application and understanding of daily coursework. Final assignment/post-assignment is fluid and engaging. It is organized, well structured and clear, and evidences a deep understanding and application of course goals. It is submitted on time. The Grading Policy can be found in the Course Catalogue. Academic Integrity Policy A primary tenet of this course is to prepare students for professional responsibilities as teachers. The timely arrival to class as well as the daily preparation and engagement in course studies is essential. University policy on Academic Integrity may be found in the UArts catalog. If students are not clear about what constitutes plagiarism, you might recommend Introduction to Research and Documentation available on the University Libraries website. Absences Due to the compressed nature of the five-day intensive course structure, absences from class will not be accepted. Students who arrive late to class or leave early will be held accountable for missed time through additional assignments to be completed outside of course hours. 7

8 Technology Policies on Technology may be found in the Course Catalogue. Class Format All summer music studies courses that meet in-person are five-day intensive courses typically running for 8 hours per day. Students are responsible for preparation of materials, for engaging in course content as per the course description, and in being responsive to completion of pre and post coursework as detailed in the course outline. Courses offered online may be in a different format and may run for a longer amount of time, specific to the needs and intents of the course content. Educational Accessibility Students who believe they are eligible for course accommodations under the ADA or Section 504 or have had accommodations or modifications in the past, should contact the Office of Educational Accessibility at or access@uarts.edu to arrange for appropriate accommodations and to obtain an accommodations letter, if applicable. Faculty can provide course accommodations/modifications only after receipt of an approved accommodations letter from the Office of Educational Accessibility. Accommodation letters can be provided to qualified students at any time during the semester, but grades earned before the letter is received by the faculty cannot be changed. Notice of Nondiscrimination The University of the Arts is a supportive community committed to individual and artistic integrity and inclusion. We promote and respect self-expression, a wide range of ideas, and diversity in all of its forms. We are committed to creating an inclusive environment in which University community members are able to access academic, social, recreational programs and services, as well as opportunities for admissions and employment on an equitable and nondiscriminatory basis. The University expressly prohibits any form of discrimination and harassment on the basis of any protected classification, including race, color, religion, sex, gender identity, national origin, age, mental or physical disability, veteran status, genetic information, the use of a guide or support animal because of the blindness, deafness or physical handicap of any individual or independent contractor, possession of a GED instead of a high school diploma and military status as defined by Pennsylvania law, sexual orientation, marital status, familial status and domestic/sexual violence victim status, in accordance with federal, state, and local non-discrimination and equal opportunity laws. The University also prohibits acts of retaliation against those who report acts of harassment discrimination or who cooperate with the investigative process. Sexual violence, sexual harassment, intimate partner/dating violence, and other forms of sexual misconduct are considered forms of sex-based discrimination and are prohibited by University policy and by law. The University will promptly and equitably respond to all reports of discrimination and harassment based on protected classifications. Complaints of discrimination, harassment, and retaliation may be directed to the University s Title IX Coordinator and Diversity Administrator, Lexi Morrison, at lmorrison@uarts.edu or (215) Complaint procedures can be found in Appendix A of the faculty, staff, and student handbooks. 8

9 Note: All faculty and professional staff at the University must report any incidents of sexual misconduct to the University s Title IX Coordinator. To make a report, titleix@uarts.edu or file a report through the Title IX Resource Page: 9