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: 1582975779 ISBN-13: 978-1582975771 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: http://www.songstuff.com/song-writing/article/song-form- 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 19102 uarts.edu cs.uarts.edu/sms
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 https://www.youtube.com/watch?v=3kled8q-nbm Pat Pattison Prosody and Tone of Voice https://www.youtube.com/watch?v=byqv0x8mg0c How To Read A Chord Chart: Somewhere Over the Rainbow AABA song form. See chart. *course outline continues on next page 2
AB Form Somebody That I Used To Know (Gotye) https://www.youtube.com/watch?v=8uvnt4wvigyhttps://www.youtube.com/watch?v=8uvnt4wvigy The Race Is On (George Jones) https://www.youtube.com/watch?v=gfhvpu8bk-a Tango Till They re Sore https://www.youtube.com/watch?v=ft5h5scsqfy In The Neighborhood https://www.youtube.com/watch?v=hlda3gqpyj4 Tangled Up In Blue https://www.youtube.com/watch?v=xwubly4pye4 3
Hotel California https://www.youtube.com/watch?v=5ntqz347tky Gin and Juice https://www.youtube.com/watch?v=okgjotraqmg 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 https://www.youtube.com/watch?v=4wxyjm74wfi How Insensitive - A.C. Jobim https://www.youtube.com/watch?v=uwil5xujlqo Phoebe Snow - Harpo s Blues https://www.youtube.com/watch?v=0sesmndcki0 Funny Songs: Can t Get To Heaven On The Frankford El - The American Dream https://www.youtube.com/watch?v=jgqxdmcp81c Weird Al Word Crimes https://www.youtube.com/watch?v=8gv0h-vpodc Noel Coward I ve Been To A Marvelous party https://www.youtube.com/watch?v=vogyq3opk5k Interview excerpt: Pat Pattison Writing Fearlessly (4:00) https://www.youtube.com/watch?v=v5rz7mgaxam Documentary Excerpt: Worth Repeating https://www.youtube.com/watch?v=tpjqy7xilju 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 https://www.youtube.com/watch?v=qrjlyapt6oy The Folksmen Blood On The Coals https://www.youtube.com/watch?v=y3j-_faavm4 The Pogues Fairytale Of New York City https://www.youtube.com/watch?v=j9jbdgzidu8 Sad Songs: Alone Again - Gilbert O Sullivan https://www.youtube.com/watch?v=d_p-v1bvqn8 Stay With Me - Stephen Sondheim (Bernadette Peters) https://www.youtube.com/watch?v=ppnaxaecvnu All Her Favorite Fruit - Camper Van Beethoven https://www.youtube.com/watch?v=rpjczl_ymxi 4
Happy Songs: Did I Hear You Say You Love Me https://www.youtube.com/watch?v=qgdma9f7pfk&list=rdqgdma9f7pfk#t=0 In The Summertime Mungo Jerry https://www.youtube.com/watch?v=wvuqcnfwuum Documentary Excerpts: Pat Pattison Electrify Your Writing With Verbs https://www.youtube.com/watch?v=bkq9wdpugq4 David Foster Songwriting Tips https://www.youtube.com/watch?v=i5fuayi-juk Additional Song Discussion: Take You With Huffamoose Blues Form The First Line Of A Blues--https://www.youtube.com/watch?v=fJfS_YSVJK4 8 bar blues Key To The Highway https://www.youtube.com/watch?v=w0kaqj4-ogs Heartbreak Hotel https://www.youtube.com/watch?v=-ye75q4pigk Ain t Nobody s Business If I Do - Video with Chaka, Etta, Gladys https://www.youtube.com/watch?v=moblmp9col4 Trouble In Mind (Nina Simone) https://www.youtube.com/watch?v=_5xmcfsu7xg 12 Bar Blues HoundDog (Big Mama Thornton) https://www.youtube.com/watch?v=wxogvbqtjpm RedHouse (Jimi Hendrix) https://www.youtube.com/watch?v=f_rrjiaqapg The Word, Why Don t We Do It In The Road (Beatles) https://www.youtube.com/watch?v=il--bwceg18 Blue Monk (Thelonius Monk) https://www.youtube.com/watch?v=_40v2lcxm7k Twisted (Lambert, Hendricks, and Ross) https://www.youtube.com/watch?v=jxwmgilmoam 16 Bar Blues Hoochie Coochie Man (Muddy Waters) https://www.youtube.com/ watch?v=afxrlovwsee Let s Dance (The Ramones) https://www.youtube.com/watch? v=7f1uwmc7i9k Ballad Of John And Yoko (Beatles) https://www.youtube.com/watch?v=gxx-dohias8 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 https://www.youtube.com/watch?v=bkq9wdpugq4 Frozen Interview: https://www.youtube.com/watch?v=7tfvkwkslcm The Beatles Talk About Bob Dylan https://www.youtube.com/watch?v=49b2hqurqpu Additional Song Discussion: Dark And Stormy - The Fractals 5
Songs That End with a Refrain This Land Is Your Land (Woody Guthrie) https://www.youtube.com/watch?v=wgku8awk7vg Tumblin Dice (Rolling Stones) https://www.youtube.com/watch?v=z3tmt9eq_5q&list=rd6obz9azpbcu&index=3 I m So Lonesome I Could Cry (Hank Williams) https://www.youtube.com/watch?v=m568uptjflm Polly Wanna Cracka (Public Enemy) https://www.youtube.com/watch?v=yom4prkgcgc Day 4: Lyrics: Metaphor/Allegory Berklee Metaphor for Songwriting https://www.youtube.com/watch?v=3wrq6anyuxi 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 https://www.youtube.com/watch?v=ylbwou4khbe Randy Newman on songwriting https://www.youtube.com/watch?v=uvdmmjngwi8 Additional Song Discussion: Bombs Away The Fractals AABA Song Form Somewhere Over The Rainbow Arlen/Harburg (not the Hawaiian guy) https://www.youtube.com/watch?v=pszxmzmbfnu Anything Goes Cole Porterhttps://www.youtube.com/watch?v=3aeQ3DmKU7A Crazy Willie Nelson https://www.youtube.com/watch?v=6qedb3xzdec Surfer Girl The Beach Boys https://www.youtube.com/watch?v=hgjky5u64lm I m Getting Sentimental Over You Washington/ Bassman https://www.youtube.com/watch?v=ec5o5bw8z60 Yesterday The Beatles https://www.youtube.com/watch?v=2wqal5njwhs 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 https://www.youtube.com/watch?v=lsg14nh7iui 6
Extended Song Forms and Modern Verse- Chorus Structures Ashes To Ashes David Bowie https://www.youtube.com/watch?v=of4vntqkkye Aja Steely Dan https://www.youtube.com/watch?v=fwfqty_k-_o Over The Hills and Far Away Led Zeppelin https://www.youtube.com/watch?v=6bd9t44jud4 Inca Roads Frank Zappa https://www.youtube.com/watch?v=drjhz6q-xjc Jesse s Girl Rick Springfield https://www.youtube.com/watch?v=qykbtyhxwbs 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
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 215-717-6616 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) 717-6362. Complaint procedures can be found in Appendix A of the faculty, staff, and student handbooks. 8
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, e-mail titleix@uarts.edu or file a report through the Title IX Resource Page: www.uarts.edu/titleix. 9