MPE_Y1Curriculum by Ladall

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1: M & E

1 C D

Music and Entrepreneurship is the inaugural course of a three-year cohort designed to introduce first-year students to the dynamic world of music production, audio technology, recording engineering, mixing engineering, MIDI, and digital audio workstations. In addition to honing their technical skills in music creation, students will delve into the foundational principles of the business side of the music industry.

This course provides a comprehensive overview of music production techniques, including hands-on experience with audio technology and recording engineering practices. Students will explore the intricacies of mixing engineering, MIDI technology, and digital audio workstations to enhance their skills in music composition and production.

Moreover, the course will introduce students to key concepts in music entrepreneurship, covering essential topics such as music publishing, copyright laws, the structure of a record label, and the business operations within the music industry. By gaining insights into the inner workings of the music business, students will be equipped with the knowledge and tools needed to navigate the competitive landscape of the industry.

Throughout the course, students will engage in practical exercises, projects, and discussions that blend creative expression with business acumen, preparing them for a successful career in music entrepreneurship. By the end of the course, students will have a solid foundation in both the technical and business aspects of the music industry, setting the stage for their continued growth and exploration in the field.

MPE Curriculum Rev LaDall Enterprises

UNIT ONE: SONG IDEA CONCEPT

1. Rules, Lab Safety, & Etiquette

2. Music Production 3. Sound & Waves . Analog vs Digital . Hardware vs Software . Microphones Microphone Placement . Protools Logic X . Roles Responsibilities

UNIT TWO: STRUCTURAL LYRICAL CONTENT

UNIT THREE: RECORDING

S

. Copywriting . Performance Rights

Organizations

Publishing . Sequencing . Tracking . Musical Instrument Digital Interface Midi . Recording with Microphones . Recording Instruments . Recording Vocals

UNIT FOUR: MIXING MASTERING

. Mixing Theory . Acoustics

Monitoring . Inputs Outputs . Plugins Processing . Dynamic Signal Processing . Equalization . Time-based Effects . Automation . Mastering

UNIT FIVE: MARKETING

UNIT SIX: DISTRIBUTION SALES

1 C M

UNIT ONE: SONG IDEA CONCEPT

Wk Topics of Study

1 1: Rules, Lab Safety, & Etiquette

Students will be able to:

● Demonstrate knowledge and understanding of class rules, lab safety, and etiquette, including: arriving on time for class; respecting others in the class; refraining from using profanity; treating the equipment with respect; not bringing food or drinks into the classroom; avoiding hitting the microphones; avoiding throwing the headphones; avoiding stepping on or twisting cables incorrectly; demonstrating knowledge of the proper way to handle equipment and cables

CCSS.ELA-LITERACY.SL. -10.1: Initiate and participate effectively in a range of collaborative discussions (one-on- one, in groups, and teacher-led) with diverse partners on grades -10 topics, texts, and issues, building on others' ideas and expressing their own clearly and persuasively.

1 2: Music Production

Students will be able to:

● Understand the fundamentals of music production and the various steps involved in producing a piece of music with a computer.

● Demonstrate an ability to understand the basics of how to develop an original musical idea and turn it into a polished final mix.

● Gain hands-on experience with popular music

CCSS.ELA-LITERACY.RST. -10.3: Follow precisely a complex multistep procedure when carrying out experiments, taking measurements, or performing technical tasks, attending to special cases or exceptions defined in the text

production tools and techniques, including audio interfaces, microphones, MIDI sequencers, synthesizers, and drum machines.

● Gain an overview of the technical proficiency needed to set up and configure a recording studio to support their creative goals.

● Understand the role of different software and hardware components in the music production process, and how to effectively use them to achieve desired sonic outcomes.

● Analyze and evaluate the creative and technical aspects of their own music production projects, as well as the work of their peers.

● Appreciate the importance of experimentation and creativity in the music production process, while also following best practices for achieving desired sonic outcomes.

● Gain a deeper understanding of the electronic music genre, its history, and its cultural significance.

2 3: Sounds & Waves Students will be able to:

● Understand the physics of sound and how it travels through the air.

● Comprehend how our ears receive sound and how our brains interpret it.

● Build a foundation for manipulating audio and creating an experience, balance, and blend with

CCSS.ELA-LITERACY.RI. -10. : Analyze various accounts of a subject told in different mediums (e.g., a person's life story in both print and multimedia), determining which details are emphasized in each account.

the instruments they are mixing.

● Apply this knowledge to improve the quality of their music productions.

● Gain confidence in their ability to work with audio equipment and software.

● Develop critical thinking skills by analyzing and problem-solving through the principles of sound physics.

● Demonstrate an ability to learn and evolve with the information studied.

● Appreciate the importance of studying the technical aspects of music production in order to achieve professional results.

CCSS.ELA-LITERACY.RST. -10.4: Determine the meaning of symbols, key terms, and other domain-specific words and phrases as they are used in a specific scientific or technical context relevant to grades -10 texts and topics.

CCSS.ELA-LITERACY.RST. -10.5: Analyze the structure of the relationships among concepts in a text, including relationships among key terms (e.g., force, friction, reaction force, energy).

CCSS.ELA-LITERACY.W. -10. : Use technology, including the Internet, to produce, publish, and update individual or shared writing products, taking advantage of technology's capacity to link to other information and to display information flexibly and dynamically.

2 4: Analog vs Digital Students will be able to:

● Understand the difference between analog and digital audio.

● Comprehend how digital audio workstations (DAWs) emulate traditional analog processes, gear, and electronics.

3 5: Hardware vs.Software

● Gain knowledge of the advantages and limitations of both analog and digital audio in music production.

● Use this understanding to make informed decisions about the tools and techniques they use in their own productions.

● Develop critical thinking skills by analyzing the strengths and weaknesses of different audio processing techniques.

● Demonstrate an ability to create music that is stylistically appropriate to different genres and production contexts, by choosing and using appropriate analog and digital processing techniques.

● Appreciate the importance of balancing tradition and innovation in music production, and how a thorough understanding of both analog and digital audio is essential for creating high-quality music.

Students will be able to:

● Understand the difference between hardware and software in the context of music technology.

● Identify the various types of hardware and software used in music production, such as synthesizers, drum machines, digital audio workstations, and plugins.

● Recognize the advantages and disadvantages of

CCSS.ELA-LITERACY.RST. -10.4: Determine the meaning of symbols, key terms, and other domain-specific words and phrases as they are used in a specific scientific or technical context.

CCSS.ELA-LITERACY.RST. -10.5: Analyze the structure of the relationships among concepts in a text, including relationships among key terms (e.g., force, friction, reaction force, energy).

CCSS.ELA-LITERACY.RST. -10. : Analyze the author ’s purpose in providing an explanation, describing a procedure, or discussing an experiment in a text, defining the question the author seeks to address

CCSS.ELA-LITERACY.RST. -10.2: Determine the central ideas or conclusions of a text; trace the text's explanation or depiction of a complex process, phenomenon, or concept; provide an accurate summary of the text.

CCSS.ELA-LITERACY.RST. -10.4: Determine

3 : Microphones & Microphone Placement

hardware and software in different production contexts, such as live performance versus studio recording.

● Apply this knowledge to make informed decisions about the hardware and software they use in their own music production.

● Develop critical thinking skills by evaluating the effectiveness and efficiency of different hardware and software combinations in achieving desired sonic outcomes.

● Demonstrate an ability to use different hardware and software tools to create a range of musical textures and sounds.

● Appreciate the role of technology in the evolution of music production, and how a deep understanding of both hardware and software is essential for creating cutting-edge music.

Students will be able to:

● Understand the basic principles of microphone technology and how it converts acoustic energy into an electric current.

● Identify different types of microphones and their specific uses in recording and production

the meaning of symbols, key terms, and other domain-specific words and phrases as they are used in a specific scientific or technical context.

CCSS.ELA-LITERACY.RST. -10.5: Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., section, chapter, scene, or stanza) relate to each other and the whole.

CCSS.ELA-LITERACY.RST. -10. : Assess the extent to which the reasoning and evidence in a text support the author's claim or a recommendation for solving a scientific or technical problem.

CCSS.ELA-LITERACY.WHST. -10. : Draw evidence from informational texts to support analysis, reflection, and research.

contexts.

● Demonstrate an understanding of how microphone choice and placement can greatly affect the final recording product.

● Develop critical thinking skills by analyzing and problem-solving different microphone placement scenarios.

● Apply this knowledge to select appropriate microphones and placement techniques for specific recording situations and musical genres.

● Gain confidence in their ability to set up and operate microphones in a recording studio environment.

● Appreciate the importance of experimentation and creativity in microphone placement, while also following best practices for achieving desired sonic outcomes.

● Understand how a deep understanding of microphone technology and techniques is essential for creating high-quality recordings in any musical genre.

4 : Pro Tools & Logic X Students will be able to:

● Understand the basics of Pro Tools and its role as an industry-standard digital audio workstation.

● Gain technical proficiency in installing and using Pro Tools for music production and audio

the text.

CCSS.ELA-LITERACY.RST. -10. : Compare and contrast findings presented in a text to those from other sources (including their own experiments), noting when the findings support or contradict previous explanations or accounts.

CCSS.ELA-LITERACY.RST. -10.3: Follow precisely a complex multistep procedure when carrying out experiments, taking measurements, or performing technical tasks, attending to

4 : Roles & Responsibilities

engineering.

● Identify and troubleshoot potential problems that may arise while using Pro Tools.

● Develop critical thinking skills by problem-solving technical issues within the software and its associated hardware.

● Gain an appreciation for the importance of proper setup and configuration of Pro Tools to achieve desired sonic outcomes.

● Understand the features and tools available in Pro Tools and how to effectively use them to produce high-quality audio recordings and mixes.

● Develop technical proficiency in recording, editing, and mixing audio using Pro Tools.

● Analyze and evaluate their own audio recordings and mixes, as well as those of their peers, using the skills and knowledge gained in this lesson.

● Appreciate the importance of digital audio workstations in contemporary music production and audio engineering.

● Gain a deeper understanding of the history and evolution of Pro Tools as a digital audio workstation and its significance in the music industry.

Students will be able to:

● Understand the different roles and positions within the music industry and their responsibilities.

special cases or exceptions defined in the text.

CCSS.ELA-LITERACY.RST. -10. : Assess the extent to which the reasoning and evidence in a text support the author's claim or a recommendation for solving a scientific or technical problem.

CCSS.ELA-LITERACY.RST. -10.4 - Determine the meaning of words and phrases as they are used in a text, including vocabulary specific to domains related to

● Analyze the collaborative nature of music production and how each role contributes to the final product.

● Gain an appreciation for the importance of teamwork and communication in the music industry.

● Develop critical thinking skills by evaluating the effectiveness of the collaboration between different roles in the creation of successful music projects.

● Understand the role of record labels and their impact on the music industry.

● Analyze and evaluate the influence of executive producers, music producers, songwriters, artists, vocalists, musicians, engineers, managers, agents, and attorneys in the creation and distribution of music.

● Understand the legal and business aspects of the music industry and their impact on the careers of artists and music professionals.

● Analyze and evaluate the impact of technology and social media on the music industry and the various roles within it.

● Appreciate the diversity of roles and career paths available within the music industry.

● Gain a deeper understanding of the music industry as a complex and dynamic ecosystem.

history/social studies, science, and technical subjects.

CCSS.ELA-LITERACY.RST. -10.3 - Analyze how the text structures information or ideas into categories or hierarchies, demonstrating understanding of the information or ideas.

CCSS.ELA-LITERACY.RST. -10. - Evaluate the hypotheses, data, analysis, and conclusions in a science or technical text, verifying the data when possible and corroborating or challenging conclusions with other sources of information

5 : Music Structure Students will be able to:

● Understand the basic structure of a song, including its different parts such as verse, chorus, bridge, and pre-chorus.

● Identify the functions of each song part and how they contribute to the overall meaning and emotion of the song.

● Analyze popular songs to identify their song structure and use them as a reference for creating their own compositions.

● Compose original songs using the basic song structure and demonstrate effective use of each song part to convey the intended message or emotion.

● Evaluate and revise their own compositions based on the feedback and critique of their peers and instructors.

CCSS.ELA-LITERACY.RL. -10.5 - Analyze how an author's choices concerning how to structure specific parts of a text (e.g., the choice of where to begin or end a story, the choice to provide a comedic or tragic resolution) contribute to its overall structure and meaning as well as its aesthetic impact.

CCSS.ELA-LITERACY.W. -10.4 - Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

CCSS.ELA-LITERACY.SL. -10.1.D - Respond thoughtfully to diverse perspectives; synthesize comments, claims, and evidence made on all sides of an issue; resolve contradictions when possible; and determine what additional information or research is needed to deepen the investigation or complete the task.

5 10: Creative Students will be able to:

CCSS.ELA-LITERACY.RST. -10.3 - Follow

Process

11: Review Song Idea & Concept

● Develop a deep understanding of the creative process behind making music, from concept to creation and ultimately, release.

● Recognize the needs of each stage of the creative process and the roles and responsibilities of the artists and various music professionals involved in a project.

● Gain insight into the process of songwriting, demo creation, recording, post-production, and rollout.

● Learn how to effectively collaborate with other music professionals, including producers, engineers, musicians, and songwriters, to bring a project to fruition.

● Develop critical thinking skills to analyze and evaluate the creative process and identify areas for improvement.

● Create and produce music that meets industry standards and is appealing to audiences.

Students will be able to:

● Develop and refine their ideas for a piece of music, including melody, harmony, rhythm, and lyrics.

● Organize their ideas and create a plan for the production of a song or musical piece.

● Understand the importance of persistence and

precisely a complex multistep procedure when carrying out experiments, taking measurements, or performing technical tasks, attending to special cases or exceptions defined in the text.

CCSS.ELA-LITERACY.RST. -10.4 - Determine the meaning of symbols, key terms, and other domain-specific words and phrases as they are used in a specific scientific or technical context relevant to grades -10 texts and topics.

CCSS.ELA-LITERACY.RST. -10. - Compare and contrast findings presented in a text to those from other sources (including their own experiments), noting when the findings support or contradict previous explanations or accounts.

CCSS.ELA-LITERACY.W. -10.5 Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience

dedication in completing a musical project.

● Gain skills in the use of digital audio workstations and other music software to help them in the creation and production process.

● Collaborate effectively with other musicians and artists to bring their ideas to fruition.

● Evaluate their work and make improvements to their musical compositions.

CCSS.ELA-LITERACY.SL. -10.1 Initiate and participate effectively in a range of collaborative discussions (one-on- one, in groups, and teacher-led) with diverse partners on grades -10 topics, texts, and issues, building on others' ideas and expressing their own clearly and persuasively.

CCSS.ELA-LITERACY.SL. -10.5 Make strategic use of digital media (e.g., textual, graphical, audio, visual, and interactive elements) in presentations to enhance understanding of findings, reasoning, and evidence and to add interest.

UNIT TWO: STRUCTURAL LYRICAL CONTENT

Wk Topics of Study Lesson Objectives

. Music History

- Part Students will be able to:

● Describe the life and musical career of Antonin Dvorak and explain how his interest in folk music influenced his compositions.

● Define what true folk music is and identify examples of folk music from different regions around the world.

Common Core Literacy Focus Standards

CCSS.ELA-LITERACY.RI. - . - Analyze how the author unfolds an analysis or series of ideas or events, including the order in which the points are made, how they are introduced and developed, and the connections that are drawn between them.

. Music History

Part

● Explain the influence of Africans in America and their contribution to music.

● Analyze the cultural and historical context of folk music and African American music, and how these genres have evolved over time.

Students will be able to:

● Identify and describe the impact of African American music on various genres.

● Understand the cultural and historical significance of African American music in shaping the music industry.

● Recognize the contributions of African American musicians and artists to the development of music in the United States.

● Analyze and compare the various genres of African American music, such as spirituals, gospel music, jazz, blues, rock roll, country, funk, soul music, R B - and their characteristics

CCSS.ELA-LITERACY.SL. - . - Initiate and participate effectively in a range of collaborative discussions one-on-one, in groups, and teacher-led with diverse partners on grades - topics, texts, and issues, building on others ideas and expressing their own clearly and persuasively.

CCSS.ELA-LITERACY.RI. - . - Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

CCSS.ELA-LITERACY.RI. - . - Analyze various accounts of a subject told in different mediums e.g., a person s life story in both print and multimedia , determining which details are emphasized in each account.

. Music History Part Students will be able to:

● Understand the cultural and financial impact of hip hop on American society and popular culture.Learn about the history of hip hop, from its beginnings to its rise to dominance.

● Recognize the influence of hip hop on other genres of music and popular culture.

● Learn about the Roland TR- drum machine and its unique sound, and its impact on the development of hip hop music.

● Explore the use of the sound in different styles of music and its continuing relevance in contemporary music production.

. Rhythm Students will be able to:

● Understand and identify musical elements such as measures, beats, and pulses.

● Relate musical concepts to mathematical concepts such as fractions and ratios.

● Develop an appreciation for the mathematical precision and structure involved in music composition and performance.

CCSS.ELA-LITERACY.SL. - . - Integrate multiple sources of information presented in diverse media or formats e.g., visually, quantitatively, orally evaluating the credibility and accuracy of each source.

CCSS.ELA-LITERACY.RI. - . - Analyze various accounts of a subject told in different mediums, determining which details are emphasized in each account.

CCSS.ELA-LITERACY.RST. - . - Follow precisely a complex multistep procedure when carrying out experiments, taking measurements, or performing technical tasks, attending to special cases or exceptions defined in the text.

CCSS.ELA-LITERACY.RST. - . - Determine

. Listening

Ear Training

● Analyze and interpret music notation using mathematical symbols and language.

● Apply mathematical principles to music composition and production, such as calculating tempos, time signatures, and rhythms.

● Explore the interdisciplinary connections between music and math, and how they intersect in fields like physics and acoustics.

Students will be able to:

● Identify specific rhythms and notes by listening to songs and various musical pieces.

● Develop their ear training skills to distinguish between different rhythms and notes in music.

● Learn to apply their listening skills in practical musical situations, such as playing in an ensemble or composing their own music.

● Gain a deeper understanding and appreciation of music through the ability to hear and recognize the nuances of rhythm and notes.

the meaning of symbols, key terms, and other domain-specific words and phrases as they are used in a specific scientific or technical context relevant to gradestexts and topics.

. Song Writing Analysis

Students will be able to:

● Identify the key elements of a good song, such as emotional impact, catchiness, and simplicity.

● Learn the songwriting process

● Write their own complete songs.

● Understand the structure of a song and how to

CCSS.ELA-LITERACY.SL. - . - Initiate and participate effectively in a range of collaborative discussions one-on-one, in groups, and teacher-led with diverse partners on grades -

CCSS.ELA-LITERACY.RST. - . - Assess the extent to which the reasoning and evidence in a text support the author s claim or a recommendation for solving a scientific or technical problem.

CCSS.ELA-LITERACY.W. - . - Produce MPE Curriculum Rev LaDall Enterprises

apply that knowledge to their own compositions.

● Analyze songs and identify various musical elements, such as meter, groove, and arrangement, that contribute to the overall sonic experience.

● Develop critical thinking skills by analyzing and breaking down songs to better understand how they are constructed.

● Gain a deeper appreciation for the art of songwriting and the complex nature of creating a hit record

clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

UNIT THREE: RECORDING

Wk Topics of Study Lesson Objectives

. Copywriting Students will be able to:

● Understand the basic concepts of copyright law and how it applies to music.

● Identify and differentiate between copyrightable and non-copyrightable elements in music.

● Explain the benefits of registering their music and the consequences of not doing so.

● Recognize potential infringement of their music and know what actions to take.

Understand the importance of protecting their intellectual

Common Core Literacy Focus Standards

CCSS.ELA-LITERACY.RI. - . - Determine the meaning of words and phrases as they are used in a text, including vocabulary specific to domains related to history/social studies e.g., intellectual property, copyright, infringement

CCSS.ELA-LITERACY.RI. - . - Analyze in detail how an author s ideas or claims are developed and refined by particular

property in the music industry.

. Performance Rights Organizations Publishing Students will be able to:

● Understand the role of performing rights organizations PROs and music publishing companies in the music industry.

● Identify and explain the main PROs in the U.S. including ASCAP, BMI, SESAC, and SoundExchange.

● Describe how PROs track performances and protect musical copyrights of artists and songwriters.

● Understand copyright registration for musical compositions and how it protects the intellectual property of artists and songwriters.

● Identify different revenue streams available for artists and songwriters through their musical compositions.

sentences, paragraphs, or larger portions of a text e.g., a section or chapter

CCSS.ELA-LITERACY.RH. - . - Integrate and evaluate multiple sources of information presented in diverse formats and media e.g., visually, quantitatively, orally in order to make informed decisions and solve problems, evaluating the credibility and accuracy of each source and noting any discrepancies among the data

CCSS.ELA-LITERACY.SL. - . : Evaluate a speaker ’s point of view, reasoning, and use of evidence and rhetoric, identifying any fallacious reasoning or exaggerated or distorted evidence.

● Learn how to protect their music and brand, and understand the importance of building a positive revenue stream.

. Sequencing Students will be able to:

● Understand the concept of rhythmic flexibility and how it can enhance their music productions.

● Learn how to sequence audio on the grid using Logic Pro X.

● Identify and analyze the meter and groove of hip hop beats.

● Learn how to use different editing modes and techniques to arrange sounds on the timeline for optimal flow.

● Apply their knowledge and skills to create their own music productions with rhythmic flexibility and groove.

. Tracking Students will be able to:

● Understand the concept of tracking and its importance in the music production process.

CCSS.ELA-LITERACY.SL. - . : Make strategic use of digital media e.g., textual, graphical, audio, visual, and interactive elements in presentations to enhance understanding of findings, reasoning, and evidence and to add interest.

CCSS.ELA-LITERACY.RST. - . : Follow precisely a complex multistep procedure when carrying out experiments, taking measurements, or performing technical tasks, attending to special cases or exceptions defined in the text.

CCSS.ELA-LITERACY.RST. - . : Analyze the structure of the relationships among concepts in a text, including relationships among key terms e.g., force, friction, reaction force, energy .

CCSS.ELA-LITERACY.RST. - . Follow precisely a complex multistep procedure when carrying out experiments, taking

. Musical Instrument

Digital Interface

Midi

● Learn about different tracking strategies and techniques used by audio engineers.

● Develop problem-solving skills by analyzing hypothetical tracking situations and determining the best approach for each one.

● Gain hands-on experience with tracking by practicing recording multiple tracks of audio information using various tools and techniques.

● Understand the importance of communication and collaboration between audio engineers and musicians during the tracking process.

● Develop critical thinking skills by analyzing the quality of the recorded tracks and identifying areas for improvement.

● Gain an appreciation for the technical and creative aspects of tracking, and how they work together to achieve a desired sonic outcome

Students will be able to:

● Understand the importance of MIDI in modern music production and performance.

● Comprehend the types of messages MIDI contains and how it allows communication between humans and digital instruments.

● Demonstrate the ability to apply MIDI concepts to the Pro Tools environment.

● Develop skills in composing, producing, and performing music using MIDI.

measurements, or performing technical tasks, attending to special cases or exceptions defined in the text.

CCSS.ELA-LITERACY.RST. - .

Translate quantitative or technical information expressed in words in a text into visual form e.g., a table or chart and translate information expressed visually or mathematically e.g., in an equation into words.

CCSS.ELA-LITERACY.SL. - .

Make strategic use of digital media e.g.,

. Recording with Microphones

● Gain knowledge and experience in using MIDI to enhance musical expression and creativity.

Students will be able to:

● Understand the basic principles of how microphones work and how they capture sound waves.

● Identify and describe the characteristics of different types of microphones, including condenser, dynamic, and ribbon.

● Understand the differences between microphone polar patterns, such as omnidirectional, cardioid, and figure- .

● Explain the advantages and disadvantages of using different types of microphones for different applications, such as recording vocals, drums, or acoustic instruments.

● Learn how to avoid common problems when using microphones, such as proximity effect, plosives, and sibilance. Apply this knowledge to choose and use microphones effectively in a recording or live sound setting.

textual, graphical, audio, visual, and interactive elements in presentations to enhance understanding of findings, reasoning, and evidence and to add interest.

CCSS.ELA-LITERACY.RST. - . Follow precisely a complex multistep procedure when carrying out experiments, taking measurements, or performing technical tasks, attending to special cases or exceptions defined in the text.

CCSS.ELA-LITERACY.RST. - . Determine the meaning of symbols, key terms, and other domain-specific words and phrases as they are used in a specific scientific or technical context relevant to gradestexts and topics.

. Recording Instruments

Students will be able to:

CCSS.ELA-LITERACY.RST. - . Determine the meaning of symbols, key terms, and

● Understand the importance of treating a recording space to achieve high-quality recordings.

● Identify common problems in recording spaces, such as outside noise and room acoustics.

● Apply techniques to reduce or eliminate outside noise and improve room acoustics.

● Learn about the different types of acoustic treatment materials and their applications.

● Evaluate the effectiveness of different acoustic treatments for a given recording space.

● Demonstrate the ability to set up and configure acoustic treatments in a recording space.

other domain-specific words and phrases as they are used in a specific scientific or technical context relevant to gradestexts and topics.

CCSS.ELA-LITERACY.RST. - . Translate quantitative or technical information expressed in words in a text into visual form e.g., a table or chart and translate information expressed visually or mathematically e.g., in an equation into words.

CCSS.ELA-LITERACY.SL. - . Initiate and participate effectively in a range of collaborative discussions one-on-one, in groups, and teacher-led with diverse partners on grades - topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.

. Recording Vocals Students will be able to:

● Understand the importance of capturing vocals effectively and efficiently to produce a high-quality recording.

● Identify common challenges that producers face when recording vocals.

● Develop skills in recording and producing vocals through practice and experimentation.

● Learn techniques for mic placement, gain staging, and EQ to achieve the desired vocal sound.

● Apply knowledge of vocal recording to real-world situations, such as recording a demo or working with a singer in a studio setting.

UNIT FOUR: MIXING MASTERING

Wk Topics of Study Lesson Objectives

. Mixing Theory

Students will be able to:

● Understand the concept of mixing and its importance in music production.

● Learn about the technical and creative skills required for mixing.

● Gain knowledge about the different elements of a song and how they are balanced during mixing.

● Understand that there is no one correct way to approach mixing and that it is a skill that requires practice and experience.

● Listen and watch others to gain more knowledge and to practice mixing as much as possible.

CCSS.ELA-LITERACY.WHST. - . Draw evidence from informational texts to support analysis, reflection, and research.

Common Core Literacy Focus Standards

CCSS.ELA-LITERACY.RST. - . : Determine the meaning of symbols, key terms, and other domain-specific words and phrases as they are used in a specific scientific or technical context relevant to gradestexts and topics.

CCSS.ELA-LITERACY.RST. - . : Analyze the structure of the relationships among concepts in a text, including relationships among key terms e.g., force, friction, reaction force, energy .

. Acoustics Monitoring Students will be able to:

● Understand the basic principles of how sound waves behave in an environment.

● Recognize how room dimensions, surfaces, and materials can affect the acoustics of a space.

● Identify common acoustic problems, such as standing waves, flutter echoes, and room modes, and know how to address them.

● Demonstrate the ability to measure and analyze the acoustic characteristics of a room using tools such as a sound level meter or a frequency analyzer.

● Apply the knowledge of acoustics to improve the quality of recordings and live performances by adjusting microphone placement, speaker placement, and room treatment.

● Evaluate different types of acoustic treatment materials and their effectiveness in addressing specific acoustic problems.

CCSS.ELA-LITERACY.RST. - . : Determine the meaning of symbols, key terms, and other domain-specific words and phrases as they are used in a specific scientific or technical context.

CCSS.ELA-LITERACY.RST. - . : Translate quantitative or technical information expressed in words in a text into visual form e.g., a table or chart and translate information expressed visually or mathematically e.g., in an equation into words.

. Inputs Outputs

Students will be able to:

● Explain the difference between input and output devices in the context of music technology.

● Identify examples of input devices used in music production, such as microphones, MIDI controllers, and instrument pickups.

CCSS.ELA-LITERACY.SL. - . : Initiate and participate effectively in a range of collaborative discussions one-on-one, in groups, and teacher-led with diverse partners on grades - topics, texts, and issues, building on others ideas and expressing their own clearly

● Explain the purpose and function of input devices in music production, such as capturing sound waves, sending MIDI messages, or controlling virtual instruments.

● Identify examples of output devices used in music playback, such as speakers, headphones, and amplifiers.

● Explain the purpose and function of output devices in music playback, such as converting digital signals to analog sound waves, amplifying sound, or providing a monitoring reference.

● Evaluate the quality and suitability of different input and output devices for specific music production or playback scenarios, based on factors such as frequency response, noise floor, distortion, latency, and compatibility.

● Demonstrate proficiency in using various input and output devices in a music production or playback context, such as setting up a microphone, recording a MIDI performance, adjusting a speaker system, or routing audio signals in a digital audio workstation. and persuasively.

. Plugins Students will be able to:

CCSS.ELA-LITERACY.SL. - . : Integrate multiple sources of information presented in diverse media or formats e.g., visually, quantitatively, orally evaluating the credibility and accuracy of each source.

CCSS.ELA-LITERACY.SL. - . : Present information, findings, and supporting evidence clearly, concisely, and logically such that listeners can follow the line of reasoning and the organization, development, substance, and style are appropriate to purpose, audience, and task.

CCSS.ELA-LITERACY.RST. - . : Follow

Processing

● Define what a software plugin is and how it functions in a digital audio workstation.

● Understand the different types of plugins available and their uses in music production, such as analog compressor emulators and bass wobble synths.

● Learn about popular plugin bundles and their specific capabilities.

● Gain a basic understanding of plugin formats and how they work within a DAW.

● Differentiate between using plugins in real time and rendering audio using Audiosuite.

● Practice using plugins in a music production project and experiment with their effects on audio.

precisely a complex multistep procedure when carrying out experiments, taking measurements, or performing technical tasks, attending to special cases or exceptions defined in the text.

CCSS.ELA-LITERACY.RST. - . : Determine the meaning of symbols, key terms, and other domain-specific words and phrases as they are used in a specific scientific or technical context.

CCSS.ELA-LITERACY.RST. - . : Compare and contrast findings presented in a text to those from other sources including their own experiments , noting when the findings support or contradict previous explanations or accounts.

. Dynamic Students will be able to:

CCSS.ELA-LITERACY.RST. - . : Determine

Signal Processing

● Define dynamic range and explain how it relates to audio engineering and recording.

● Identify the loudest and quietest possible sounds in an audio recording and describe how they are measured.

● Differentiate between individual track dynamic range and overall dynamic range in a multi-track recording.

● Explain the purpose of dynamic range processing and describe how it is applied to tracks and the overall mix.

● Identify different types of dynamic processors and their effects on the audio signal, such as compression and expansion.

● Apply dynamic range processing techniques to audio tracks and the overall mix to achieve desired effects and improve audio quality.

. Equalization Students will be able to:

● Understand the concept of equalization and how it can be used to adjust the volume of different frequency bands in an audio signal.

● Recognize different types of equalizers, including graphic, parametric, and shelving EQs, and their respective functions.

the meaning of symbols, key terms, and other domain-specific words and phrases as they are used in a specific scientific or technical context.

● Learn how to use equalization to correct problems in a recording or to enhance certain aspects of a track, such as boosting the bass or reducing harshness in vocals.

● Develop critical listening skills by practicing identifying different frequency ranges and the effect that adjusting their levels has on the overall sound.

. Time-based Effects Students will be able to:

● Explain what time-based effects are and how they can alter the space and time of a sound.

● Identify and adjust various parameters in time-based effect units, such as delay time, feedback, decay, and diffusion.

● Describe the differences between delay and reverb, and when each effect might be used.

● Apply time-based effects to a sound source in a way that enhances the overall mix and creates a desired effect.

● Analyze and critique the use of time-based effects in recorded music, considering factors such as the type and amount of effect used, the context and genre of the music, and the intended effect on the listener.

● Experiment with different time-based effects and parameters to create unique and creative sounds in their own musical productions.

CCSS.ELA-LITERACY.RST. - . : Assess the extent to which the reasoning and evidence in a text support the author s claim or a recommendation for solving a

. Automation Students will be able to:

● Explain what automation is in Pro Tools.

● Demonstrate how to automate specific parameters in Pro Tools.

● Understand the benefits and usefulness of automation in music production.

● Apply automation to control volume, pan, and other parameters in real-time.

. Mastering Students will be able to:

● Understand the purpose and importance of the mastering process in music production.

● Identify the basic techniques and equipment used in mastering.

● Gain an appreciation for the role of the mastering engineer in the music production process.

● Evaluate the sonic qualities of a mix and understand how they can be improved through mastering.

● Understand the importance of consistency across an album in terms of loudness, tonality, and overall sound quality.

scientific or technical problem.

CCSS.ELA-LITERACY.RST. - . : Analyze the structure of the relationships among concepts in a text, including relationships among key terms e.g., force, friction, reaction force, energy .

. Music Business

. Artists Contracts Agreements

Students will be able to:

● Understand the various streams of income available in the music industry and how to monetize one s talents.

● Gain a basic understanding of the business side of professional music, including the different positions and departments that make up the industry.

● Learn about the importance of marketing, promoting, and protecting artists in the music industry.

● Understand how deals are made in the music industry and how to negotiate them.

Students will be able to:

● Explain the importance of artist contracts in protecting their interests in the music industry.

● Identify common points of negotiation, recoupable costs, common clauses, point distribution, and royalty escalations in artist contracts.

● Understand the purpose and contents of agreements between artists, producers, and record labels in the music industry.

● Differentiate between various types of agreements, such as work for hire, side artist agreements, producer s deals, and

CCSS.ELA-LITERACY.SL. - . : Adapt speech to a variety of contexts and tasks, demonstrating a command of formal English when indicated or appropriate.

CCSS.ELA-LITERACY.W. - . : Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content.

CCSS.ELA-LITERACY.RI. - . : Analyze various accounts of a subject told in different mediums e.g., a person s life story in both print and multimedia , determining which details are emphasized in each account.

. Artists

Repertoire A R

. Record Labels

Part

producer fees and advances. task.

Students will be able to:

● Explain the role of A R in the music industry and identify the key responsibilities of A R representatives.

● Learn how to research and identify potential artists to sign to a record label, including analyzing trends in music and using social media and other online resources.

● Understand the importance of developing a strong working relationship between artists and the record label and be able to explain how effective communication and trust can benefit both parties.

● Describe the process of courting and signing an artist, including negotiating contracts and agreements.

Students will be able to:

● Understand the role of the marketing department in promoting new releases by artists signed to a record label, including creating effective marketing plans and using metrics to track product life cycle.

● Understand the role of the publicity department in securing media coverage, managing artist image, and building and maintaining industry connections.

CCSS.ELA-LITERACY.RH. - . : Integrate multiple sources of information presented in diverse media or formats e.g., visually, quantitatively, orally evaluating the credibility and accuracy of each source.

CCSS.ELA-LITERACY.RI. - . : Analyze various accounts of a subject told in different mediums, assessing the advantages and limitations of each medium.

CCSS.ELA-LITERACY.SL. - . : Initiate and participate effectively in a range of collaborative discussions one-on-one, in

. Record Labels Part

● Understand the role of the promotion department in securing radio play for new releases, and the importance of charisma in this field.

Students will be able to:

● Identify the different retail aspects of a record label, including physical and digital distribution channels, and how the sales department ensures successful product rollout.

● Discuss the role of the legal department in handling contracts, budgets, payroll, and bookkeeping, and resolving legal disputes between the label and other parties.

● Evaluate the importance of artist contracts in protecting their interests and making informed choices, and analyze common points of negotiation, recoupable costs, point distribution, and royalty escalations.

groups, and teacher-led with diverse partners on grades -

. Marketing Plan

Students will be able to:

● Learn how to develop their own marketing plan.

CCSS.ELA-LITERACY.SL. - . : Adapt speech to a variety of contexts and tasks, demonstrating command of formal English when indicated or appropriate.

CCSS.ELA-LITERACY.W. - . : Write informative/explanatory texts to examine

UNIT SIX: DISTRIBUTION SALES

Wk Topics of Study Lesson Objectives

. Music Publishers

. Song Registration

Students will be able to:

● Explain the role of music publishers as copyright owners or administrators who license copyrights to entities or companies that require music.

● Describe how music publishers collect and distribute the money earned every time an artist s song is played.

● Understand the different departments within a music publishing company such as the Sync Department, Publishing A R, Administration, Legal Business Affairs, and Marketing.

Students will be able to:

● Understand the importance of registering a song

and convey complex ideas, concepts, and information

Common Core Literacy Focus Standards

CCSS.ELA-LITERACY.W. - . : Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

CCSS.ELA-LITERACY.W. - . : Use technology, including the Internet, to produce, publish, and update individual or shared writing products, taking advantage of technology s capacity to link to other information and to display information flexibly and dynamically.

CCSS.ELA-LITERACY.W. - . : Draw evidence from literary or informational texts to support analysis, reflection, and research.

CCSS.ELA-LITERACY.W. - . : Produce clear and coherent writing in which the MPE Curriculum Rev LaDall Enterprises

. Merchandising

and the different platforms involved in the process.

● Identify the seven different platforms involved in registering a song, including the US copyright office, PROs, SoundExchange, and Allmusic.com.

● Explain the purpose and function of each platform in the registration process, such as the ecO system PA form and SR for the US copyright office, and the ISRC code for sound recordings.

● Demonstrate the ability to fill out and submit the necessary forms for registering a song, including understanding the information required for each platform and the fees involved.

● Analyze the benefits and drawbacks of registering a song with different platforms, such as the differences between registering with a PRO vs. SoundExchange or registering the copyright for artwork and lyrics.

● Evaluate the impact of registering a song on the rights and earnings of the songwriters, performers, and sound recording owners.

● Synthesize a comprehensive plan for registering a song, including selecting the appropriate platforms, filling out the necessary forms, and following up on the registration status.

Students will be able to:

● Define what is meant by the term merchandise

development, organization, and style are appropriate to task, purpose, and audience.

CCSS.ELA-LITERACY.W. - . : Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience.

CCSS.ELA-LITERACY.RST. - . : Determine the meaning of symbols, key terms, and

in the context of the music industry.

● Explain why merchandise is an important revenue stream for record labels and artists.

● Identify different types of merchandise that are commonly sold by musicians.

● Analyze the principles of merchandising in order to understand how to create successful merchandise lines.

. Monetizing Music with Symphonic Distribution Students will be able to:

● Define the term DIY in the context of the music industry and explain why more artists are choosing this approach.Compare and contrast the roles and functions of traditional music industry departments e.g. A R, marketing, sales with those of independent artists and self-managed musicians.

● Identify and analyze the different tools and services available to independent musicians for distributing, promoting, and monetizing their music, such as digital aggregators, social media platforms, crowdfunding, and direct-to-fan models.

● Evaluate the benefits and challenges of being a DIY musician, including creative control, cost-effectiveness, self-promotion, networking, time management, and legal issues e.g. copyright, licensing, royalties .

other domain-specific words and phrases as they are used in a specific scientific or technical context relevant to gradestexts and topics.

CCSS.ELA-LITERACY.RST. - . : Analyze the structure of the relationships among concepts in a text, including relationships among key terms e.g., force, friction, reaction force, energy .

CCSS.ELA-LITERACY.W. - . : Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

CCSS.ELA-LITERACY.W. - . : Use technology, including the Internet, to produce, publish, and update individual or shared writing products, taking advantage of technology s capacity to link to other

. Music Production Project

● Interview a music industry professional or entrepreneur who has experience in the independent sector, and ask them about their career path, skills, strategies, and advice for aspiring artists.

● Design a marketing plan or a merchandise line for a hypothetical music project, using concepts and techniques learned from the lesson. Present the plan or the merch to the class and receive feedback on its effectiveness and feasibility.

Students will be able to:

● Synthesize learning from throughout the school year and create a to bar song

information and to display information flexibly and dynamically.

. Music

Production

Project

Presentations

Students will be able to:

● Present songs in student showcase displaying key learning outcomes from the year

CCSS.ELA-LITERACY.SL. - . : Adapt speech to a variety of contexts and tasks, demonstrating command of formal English when indicated or appropriate.

1 L D

During the first si weeks of the class we will review S g Idea C ce

1. Class Rules, Lab Safety & Etiquette

- Be on time

- Respect others

- No cursing

- Respect The Gear

- No Food or Drinks in my classroom

- Do not hit the microphones

- Do not throw the headphones

- Do not step on cables or twist them incorrectly

- The Proper Way

2. Music Production

What is music production? Through hands -on exercise and projects, you’ll experience the process of producing a piece of music with your computer, from developing the original musical idea through distributing a final mix. this course with teach you not only how to design and configure a recording studio that supports your creative goals but also how to understand and utilize the most popular tools and techniques employed by electronic musicians. You’ll learn how to set up audio interfaces, microphones, MIDI sequencers, synthesizers, drum machines, and more to effectively create and produce your music ideas.

3. S &

In this lesson, we will take a look at the physics of sound. We will understand how sound travels through air, how our ears receive sound and how our brains interpret the sounds we are receiving. Understand this will help us build a foundation for how we can manipulate audio and create an experience, balance, and blend with the instruments that we are mixing. The most important thing

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to remember is not to feel overwhelmed. It is not necessary to understand these concepts on a scientific or mathematical level your first time going through them. Allow yourself to evolve with the information you are studying. The more you study the information, the more you apply this material, the more things will start to make sense!

4. A D

You can get the best sonic results out of your productions by understanding the difference between analog and digital audio and how our digital audio workstations are actually emulations of traditional analog processes, gear, and electronics. Understanding the basics of both of these realms of audio gives us a more knowledgeable foundation for the creation of our own music.

5. H S

Hardware and Software are very important components of any machinery creation and function. The main difference between hardware and software is that hardware is the felt objects while the software is the program. Nowadays for every piece of hardware there is a soft version of some sort.

6. M & M P

A microphone is a device that changes acoustic energy into an electric current that can be altered and manipulated. Any device that converts one form of energy into another form of energy is called a transducer. Microphones are used in many different applications and are typically the first stop in the signal flow of your recording path. Here we will look at various types of microphones, explain briefly how they work, and help familiarize you with popular mics you will see in the studio. Microphone choice and placement plays a huge result in the final recording product. Everything we have discussed up to this point plays a role in how our signal is captured. Hopefully, by now you have started to think of the recording process as a lot more then just pointing a microphone at a sound source and pressing play. The many factors that come into play can affect your final product. We will look at the common practices of the recording process with regard to mic choice and set up. Getting to know your microphones, and the microphones in your studio, is a good place to start. Now we will look at common microphone placement techniques.

Curriculum

7. P & L

Pro Tools™ is an extremely advanced digital audio workstation DAW . Pro Tools has remained an industry standard for engineers and producers in the professional studio environment, as well as for novice music enthusiasts, for more than years. We will begin to scratch the surface of this very dense DAW and prepare you for the task of installing and using this amazing tool. This topic will help educate you about Pro Tools and help you troubleshoot potential problems in the future.

8. R & R

Like everything there are roles and positions that one must understand in order to make the process of creating a song run smoothly and effectively. Record Label, Executive Producer, Music Producer, Songwriter Artist, Vocalist, Musician, Engineers, Managers Agents, Attorneys, are examples of various roles within the industry. Here we will discuss the responsibility of each role and how they work with one another to make a hit.

9. M S

Just as an essay has an outline and structure, so it is with a song. Students are taught the basic structure of a song and will know how to format one from beginning to end.

10. C P

Understanding the creative process behind making music will enable you to develop meaningful connections with the artists and the many producers, engineers, musicians and songwriters you’ll meet and work with. By understanding the various phases involved from concept to creation and ultimately, release, you can be aware of the needs each stage presents to artists and the various music professionals involved on a project. Armed with this knowledge, you can proceed in a prepared and responsive manner. From songwriting, to demo, to recording, post, and rollout, we break down the creative process behind today ’s songs.

11. R : S I & C

This section is an extension of section and .

Students will learn how to take an idea from its inception and follow through with the completion of the entire idea.

12. M H P 1

This section deals with the great Czech Republic composer Antonin Dvorak, the meaning of true Folk Music music that is birthed out of the land , and Africans in America and their contribution to music.

During the second si weeks of the class we will review S c e L ica C e

13. M H P 2

Here the students will learn the impact of African American music and the genres they created such as, Spirituals, Gospel Music, Jazz, Blues, Rock Roll, Country, Funk, Soul Music and R B.

14. M H P 3

H H - Hip hop is an integral part of American pop culture, making waves in fashion, television, movies, retail sales, and literature.

As such, it is a multi-billion dollar industry. The music is a multi-genre, multi-cultural experience that draws artists of other genres into its vortex. But hip hop’s beginnings were downright humble and anything but omnipotent. We look at the history of this now-powerful, iconic genre, starting with hip hop’s progenitors, through to its meteoric rise to dominance. Country has the fiddle, rock has the Fender Stratocaster, soul has the Fender Rhodes, and hip hop has the Roland TR- . Learn about the history and application of the iconic sound, magic, and its somewhat circuitous rise to dominance on music’s world stage.

15. R

In this section we will learn and breakdown what things like a measure, a beat, the pulse and what note is and how they relate to math.

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16. L & E T

In this section we will listen to songs and various rhythms to train our ears to hear and identify specifics rhythms and notes

17. S & S A

S g g - What makes a song good is highly subjective. Good songs tend to illicit some sort of emotional response and are catchy, with hooks and melodies a person could sing along to after hearing the song just once or twice. Surprisingly, simplicity seems to be complex when it comes to songwriting and catchiness is hard to achieve. We’ll delve in and get right into the writing process. Then we’ll review song structure and put all our skills together to make a complete song.

S g A a - Here we’re going to break it down and see how various musical elements form the groundwork of a hit record! From meter, to groove, to duplicating and arranging sounds on the timeline, we analyze how songs are the result of numerous factors working together to form a pleasing sonic experience that feeds the soul.

During the third si weeks of the class we will review Rec di g

18. C

Protect thyself! Here is where we will learn how to protect your music as well as learn what ’s protected by copyright and what isn’t. Common questions about copyrights will be answered and we’ll discuss: eligibility, terminology, compulsory licenses, Article , Section of the United States Constitution, trademark vs. copyright, registration, terms of infringement, options for recourse and more.

19. P R O & P

Also known as PROs, Performing Rights Organizations and music publishing companies are largely responsible for tracking performed or played performances and protecting the musical copyrights of artists by policing the forums under their charge to ensure monies are collected and distributed to artists and songwriters. Various organizations oversee various forums. We’ll discuss the main PROs in the U.S. including ASCAP, BMI, SESAC, and SoundExchange as well as copyright registration for musical compositions. Students will

learn how to protect their music and their brand while also creating a positive revenue stream. There are numerous ways to make money from having a solid project.

20. S

Students learn about the rhythmic flexibility you can inject into your music by sequencing audio on the grid in Logic Pro X! Here, we explore music meter further and break down the metrics of the quintessential hip hop beat, delve into groove, and explore various editing modes and ways of placing, duplicating, and arranging sounds on the timeline to get it flowing right.

21. T

Tracking is the term that audio engineers use for recording multiple tracks of audio information at the same time. There are many different strategies used for many different situations. No one understands this process better than your mentor! In this topic, we will take a look at some hypothetical situations and try to give students a general understanding of how to approach these situations.

22. M I D I (M )

Musical Instrument Digital Interface, or MIDI, is the standard way in which we interact with music in the digital world. Think if it as the DNA of your musical performance. Without it, our ability to compose, produce and perform music in modern times would be remarkably different. Throughout this topic, we will have a look at what types of messages MIDI contains, that is, how it allows humans to communicate with computers and digital instruments in a universal binary language. Using what we know about MIDI, we will then apply this concept to the Pro Tools environment, and most importantly, we’ll start making music!

23. R M

Microphones allow us to transfer the energy of sound waves into an electrical signal that can then be recorded, manipulated, distributed, and even broadcast right back into the air! By design, different microphone types yield different sounding results and are thus suited for different applications. We’ll take a deeper look at the methods in which microphones capture sound, their directionality polar patterns , and common problems that arise when using them.

MPE Curriculum Rev LaDall Enterprises

24. S T

When it comes to recording, treating your space is one of the most important factors in the process. Getting rid of outside noise, dampening the room adding acoustic foam and/or acoustic paneling will enhance the quality of the recording.

25. R

Vocal recording in essence is capturing the voice of the artist in the most effective and efficient way so that the playback will be as true sounding to the original performance as possible. For most music producers vocal recording is probably the most challenging part of the production process. Like many other creative endeavors, vocal recording is a required skill. The more you do it the better you become.

During the fourth si weeks of the class we will review Mi i g Ma e i g

26. M T

Mixing is the process by which we audio engineers combine an entire multi-track session into a stereo track. Mixing is the place where technical skill and creativity come together, resulting in the creation of a song. Here we take all the live instrumentation, sequenced MIDI and effects, and seek to create a balance between the elements of the song. There is no one correct way to approach a mix, just as there is no one correct way to finish a mix. This topic is about educating you on common aspects of the mixing process, not about showing you how to mix. Mixing is about balance and clarity. The best suggestion for anyone new to the craft is to listen and watch others as much as possible, and above anything else, PRACTICE!! Mix everything you can get your hands on!

27. A & M

Acoustics is the study of how sound waves behave in an environment. Since you are nearing the end of this course you should be more than ready to handle some more difficult concepts. The science of acoustics could fill several volumes, so we have included

those things which are important to your development as a music industry professional. Understanding these concepts and implementing them into your workflow will help you set yourself apart as a music industry professional. We will take a look at acoustics, and more importantly, how the environment in which you are listening affects the sounds you are perceiving.

28. I & O (I/O)

Input devices receive and transfer information to a device for processing. Output devices are able to interpret and reproduce that captured audio. These days most general devices have both input and output capabilities e.g. a phone or laptop , while specialized equipment focuses on one function.

29. P & P

The web defines a software plugin as, “a set of software components that adds specific capabilities to a larger software application.” In the case of digital audio, plugins add functionality to your DAW. From analog compressor emulators to bass wobble synths, plugins can enhance your sound and the way you work. We will look at some of the more popular plugin bundles you will see in the audio world and give you a basic understanding of how plugin formats work. We will also show you the difference between using plugins in real time and rendering audio using Avid’s proprietary offline plugin processor, Audiosuite.

30. D S P

Dynamic range is the ratio between the largest and smallest possible values of a changeable quantity. In audio engineering, dynamic range generally refers to the distance between the loudest possible sound and the quietest possible sound in an audio recording. In a multi-track recording, each constituent track has a unique dynamic range; there is also a “master ” or overall dynamic range, which is the total dynamic range of the tracks mixed together into the master bus. Consequently, dynamic range processing is often applied to tracks at an individual basis as well as on the master channel the overall mix . Fundamentally, dynamic range can either be increased or decreased, but there are several types of dynamic processors that act on the signal in different ways, producing different effects that utilize the inherent dynamic range of acoustically generated sounds.

31. E

Since qualifiers adjust the amplitude of audio signals at particular frequencies, they are , in other words, frequency-specific volume knobs. Equalization in sound recording and reproduction is the process of adjusting the volume of different frequency bands working an Audio signal.

32. T - E

Time-based effects, along with many other tools found in the modern studio, are catalysts for creativity, and they have a wide range of uses in the studio and onstage. When applied to the audio signal, tools such as delay or reverb will alter the space and time of a given sound in the stereo field, depending on certain variables of the device you’re using. The desired effect can take you somewhere far beyond the original sound source, and when used to taste, a subtle shift in the listener ’s subconscious occurs, altering the perception of the sound by just the right amount. Audio engineers use these tools to control how reproduced sound is perceived in the overall stereo or surround mix coming out of speakers or headphones. We will investigate some of the most useful parameters found within time-based effect units, and how they can effectively be used to “paint a picture” of sound in the modern studio.

33. A

Automation is the ability to control a specific parameter automatically by telling the DAW what to do, and when to do it in real-time. For example, you might need to adjust the volume of your vocal track at minute and seconds by increasing the volume precisely by decibels. At the same point in time, you might need to shift the pan on your guitar track from the left side to the right. With automation, you can do both of these moves simultaneously, and more importantly…automatically. It ’s an incredibly helpful and useful tool! Here we will go over how to employ automation in your sessions, and where the practice came from.

34. M

Mastering is the art of sweetening the mix and preparing the mixdown for duplication. The goal of this topic is to familiarize students with some of the very basics about the mastering process. Mastering is a very technical process that often involves specific gear that is calibrated to subtly alter a mix in ways that improve the sonic qualities of a specific song, and to alter multiple songs to work

together as an album. Mastering often requires ears that possess the sonic precision that takes years to develop. A good mastering engineer is both a good ally to have and a good person to learn from!

During the fifth si weeks of the class we will review Ma ke i g

35. M B

Whether you are a musician, artist, audio engineer, producer, aspiring studio owner or label boss, you need to know the business side of professional music if you want to successfully monetize your talents through the many streams of income available to you. The professional side of the music business gets talked about a lot but few understand the many facets that actually make up the multi-tiered machine. From getting the right people in the room, to marketing, promoting, and protecting artists, to making deals, we’ll delve into one of the world’s most dynamic and fast-paced industries to uncover how the various positions and departments work together to bring music to the world and make it a profitable enterprise for artists, writers, labels and the many professionals on their team.

36. A C /A

A C ac - Well-executed artist contracts are an essential component of an artist ’s career in music. Considering how busy professional recording artists can be with songwriting, collaborating, recording and touring, it ’s easy to see how dictating the finer points of a contract may get lost in the shuffle. Artists should be empowered to make informed choices that protect their own interests. Thanks to the many resources available to us today, it ’s never been easier to get savvy and stay savvy about artist contracts including common points of negotiation, recoupable costs, common clauses, point distribution, and royalty escalations.

Ag ee e - Alas, the exciting, relationship-fueled world of music cannot run on handshakes alone. Agreements between artist, producer, and record label make it possible for all parties to get paid in accord with what they have deemed as fair as laid out in the terms of their contracts. Here we will discuss common agreements including: work for hire, side artist agreements, producer ’s deals, and producer fees and advances.

37. A & R (A&R)

Artists and repertoire or “A R” as it is commonly called, is the department that ’s responsible for scouting, signing, and developing artists for the record label as well as liaising with the label’s departments on behalf of the artists themselves. Nowadays, the job of scouting for talent can consist of tracking particular artists, genres, and sub-genres prior to courting, pitching, and ultimately signing artists to the label. A R’s will typically spend a lot of time with the artists they represent during the courting process in order to develop clear communication and trust between the artist and label.

38. R L P 1

Ma e g - It is the marketing department ’s job to oversee the creation and development of effective marketing plans to promote new releases by the artists signed to the record label. Marketing plans commonly contain the “four P ’s” of the marketing mix as well as a development plan and metrics on the product life cycle. This department works closely with Promotion, Publicity, and Sales

P b c - Explain how a record label should get the word out about their new artists and they are to grab their audiences attention for their artist. In today ’s world, the publicity department is always finding new ways to connect artists to the right listeners, i.e. future fans and consumers of their music. Professionals in publicity at a record label will generally work in-tandem with the artist ’s own publicist to secure media coverage, manage image, and consistently build and maintain vital industry connections.

P - The promotion department focuses its energy on securing radio play for the record label’s newest releases. It may sound strange but someone in promotions had to sit down at a radio station and explain why songs by artists like Drake, Taylor Swift, and Sza need to be played on the air. Times are changing with more artists being discovered online, nevertheless, securing radio play is still the most effective way of bringing new artists and new music to hungry listeners. Got charisma? Here’s just one area where you can use it bigtime.

39. R L P 2

Sa e - Explain the role of the sales department and how it oversees all of the retail aspects of the label. This includes working closely with the promotions team to price product as well as liaising with distribution, marketing, and publicity to ensure successful product rollout. Distribution now includes physical as well as digital distribution channels such as iTunes/Apple Music, Spotify, Tidal, Google Play, etc.

Lega B e Affa - At a record label the business affairs department handles finances, budget, payroll, and bookkeeping. Meanwhile, it ’s the legal department ’s responsibility to handle contracts between the record label and the artists they have signed and to handle lawsuits between the label and other parties. Contracts between the label and artist including major deal points, terminology, common clauses, and considerations will be explored.

40. M P

Each student will learn how to develop their own marketing plan using everything learned throughout the previous lesson.

During the last si weeks of the class we will review Di ib i Sa e

41. M P

Dive into what music publishers do. The long and short of it is that music publishers are either copyright owners or copyright administrators who license copyrights to the entities or companies that require music. Music publishing companies ensure that the entities that play the music pay for the music. In other words, they collect and distribute the money earned every time an artist ’s song is played. We’ll also delve into the various departments within publishing including the Sync Department, Publishing A R, Administration, Legal Business Affairs, and Marketing.

42. S R

Registering a song consists of seven different platforms. Wether it ’s the US copyright office and their ecO system PA form and SR, composition PRO’s, publishing with a PRO, sound recording owner with SoundExchange, performer with SoundExchange and generate an ISRC code. its optional to register the copyright for artwork and lyrics as well as registering with Allmusic.com and DSP ’s.

43. M

All physical products aside from the actual CDs or records themselves fall under merchandise or “merch.” For decades, providing fans with t-shirts, accessories, and luxury products has been a very lucrative income stream for record labels and artists. From KISS’s

extensive catalog of memorabilia, to Chance the Rapper ’s Hat, for many merch is where it ’s at! In this topic we’re getting into the principles of merchandising so that you’ll know what it takes to be a revenue generating superstar.

44. M M S D

The music industry is changing fast. The work that used to require a whole department full of staff can now be done by a few industrious folks with fast internet connections. As a result, more and more artists are choosing to go the independent route when it comes to marketing their music and taking charge of their own careers. For those in the know, generating revenue from one’s music has never been more achievable. In this week s topic we’ll delve into the many tools and services available today.

45. M P P

Each student is responsible for taking the knowledge learned throughout the school year to create a to bar song.

46. M P P P

This is the Capstone for the course. At the end of the year students will put on a showcase displaying the things learned throughout the year.

C D -S

Differentiation Spotlight: Vocabular development is a critical aspect of literac growth particularl for students who have been designated as English Learners EL or Special Education SPED A strong vocabular enhances reading comprehension writing and communication skills Students who have been designated EL face unique challenges acquiring new vocabular as the navigate a new language culture and education s stem Therefore e plicit instruction practice and e posure to academic language are crucial to their success Similarl students with some SPED designations ma struggle with language processing and communication making vocabular development a ke area of focus Through a variet of strategies including word anal sis conte t clues and word mapping students can e pand their vocabular and increase their chances of academic success It is essential that educators prioriti e vocabular development in high school to ensure that all students have the necessar tools to thrive academicall and be ond

Dea In the heyday of sales of recorded music, successful labels could easily survive and thrive just from selling physical product and for a time, downloads too . In this modern era when sales are much lower and streaming revenues are still maturing, many labels now offer a ‘holistic’ exclusive recording contract in which, on top of the revenue from sales of the artist ’s recorded music, they also work on and benefit from other artist income sources such as merchandise, touring, and endorsements. ‘ ’ refers to the degrees of a circle, referring to an all-encompassing deal.

A R Probably the most recognised music acronym around, but how many of us actually know what it means? A R which stands for artist repertoire is the division of a record company that ’s responsible for discovering new talent, giving artistic direction, matching artists with producers, and facilitating the relationship between artist and label. Here at Spinnup, if you catch our ear, your music could be passed on to the A R teams in our UMG labels to make you their next big thing!

Ad a ce Money that is giving up front only to be recouped later

Age Also referred to as a booking agent, they are the person responsible for organising an artist ’s live dates. They will both proactively seek dates in certain territories to fit with an album release promotional cycle and field requests from festival and event promoters and venue bookers

Agg ega D g a Digital Aggregators supply music downloads from labels and artists to many often or more online retailers, e.g. iTunes, Amazon, Spotify.

Bac Ca a g e This is a collection of an artist/writer ’s music e.g. albums, EPs and/or singles. Also known as a ‘discography ’ .

B a e L ce e A license issued by a performing rights society that authorizes the public performance of all the songs in the society ’s catalog.

B c g Exporting a track to a format like an mp or wav file.

C g Another word for ‘distorting ’ or ‘peaking ’ .

C e Reducing the dynamic range of a signal, the difference between the loudest and quietest parts. This means more consistent dynamics, by turning down the sound if it goes above a certain level.

C L ce e Means that you must issue a license to someone who wants to use your work, whether you like it or not. types

C gh The legal statute entitling an artist to legally claim rights to an original body of work that they have written and/or performed, preventing unauthorized copying or sampling of the music or lyrics therein.

DAW Digital Audio Workstation software like Ableton Live, GarageBand, Logic Pro. Used to record audio, mix, make sound effects, and master. Musicians can also compose within DAWs through MIDI devices Musical Instrument Digital Interface .

De Recording a song or piece of music as a first example of the project, in preparation for a proper full recording.

DSP This stands for Digital Service Provider, and is what we and many other distribution services call the stores we send your music to, like Spotify and Apple Music.

EP Extended Play EP describes a release that has more than two tracks, but is too short to be considered a full studio album. EPs are usually a great starting point for an artist wanting to show their skills over a longer format than a single, as it is less expensive to produce than an album, and less of a time commitment. When creating your release on Spinnup, an EP product is defined as one that contains - tracks in total.

EQ Equalization EQ is a method of cutting or boosting the levels of specific frequencies within a sound without changing the rest of it, by adjusting the gain volume of a sound at selected points.

Feedbac A high-pitched screech caused when a loop of sound is caused by a signal passing through an amplifier to a microphone and back again. For example, amplifier sound ‘feeding back’ to guitar strings that are still vibrating.

FX Short for ‘effects’. Common effects include reverb, chorus, distortion, and flange processes or devices applied to a signal to alter its sound.

Ga How loud a signal is before it goes through an amplifier. Can be another word for volume, and another word for guitar distortion.

Ga e A gate is a hardware device or plugin that can be set to automatically mute certain pieces of the signal of an audio track. Some gates will reduce volume rather than mute it, but you can manipulate certain parameters to set the gate exactly how you like it to get your audio sounding how you need it to.

H Another word for a chorus or the key melodic motif in a track i.e. the catchy part of a song that sticks in your head. Think “If you liked it, then you should’ve put a ring on it.” Whether you liked it or not, you couldn’t avoid singing it at one point.

I d e Short for an independent label, or sometimes referring to an independent or unsigned artist. Independent labels are labels that are not commercially tied to the three major label groups which are Universal Music Group, Sony Music and Warner Music Group.

I The initial part of the recording chain, through a cable such as a Jack, MIDI or USB.

ISRC The International Standard Recording Code ISRC is designed to help you track sales and radio station play. Every new recording and version of a recording is assigned a unique -digit number code once your music is uploaded. So wherever your track is being played around the world, you can easily track it through your ISRC code.

Jac A connector. Usually comes in mm, . mm mini jack and . mm sizes.

La e c A delay between input and output of a signal, often in a performer ’s headphones.

L A repeated section of a song, often using imported samples.

LP Long Playing LP records were inch rpm vinyl records. They were also known as albums because each would replace several of the shorter-running rpm records. A piece of music or compilation of songs was previously issued as an album of records.

Ma age Managers are responsible for nurturing an artist ’s profile and career. The manager acts as a point of call on all business-related decisions and helps their artist promote themselves through their own personal network, media exposure, distribution of demos, signing of sponsorship deals and so on. All career decisions, directions and financial deals will be overseen by an artist ’s manager.

Ma e ec d g The original recording made in the studio is called a master, because it is the master meaning controlling entity from which all copies are made the machines making the copies are called slaves master/slave.

Ma e g A mastering engineer creates the final versions of the recordings, typically known as the masters. The most common steps in the process is unifying the sound of a record, maintaining consistency across an album, ensuring the sound of the record is as vibrant as possible and as close to as what the artist intended, and preparing the final masters for distribution. They usually step into the creative process after a mixing engineer has adjusted the album.

Mecha ca R gh A ‘mechanical’ right is the a right/permission to reproduce a piece of music onto CDs, DVDs, records or tapes.

Me ch a d e Every music fan will already know exactly what this is. It ’s any branded physical product that can be sold featuring an artist ’s name, likeness, logo or artwork. It ’s usually sold through the artist ’s online shop and at stalls at their gigs to raise additional revenue.

Me ada a In the context of music, Meta Data is the information embedded in a musical file such as an MP that typically identifies things like but not limited to the creator s , the publisher s , the song title, the date created, email address, phone number, etc.

MIDI Musical Instrument Digital Interface. Data and notes recorded with software and electronic instruments. The notes recorded by a MIDI keyboard are recorded in a DAW as MIDI notes.

MPE Curriculum Rev LaDall Enterprises

M g a d M e g ee Frequently unsung heroes of the music world, mix engineers are the people who help to refine recordings by adjusting their audio quality and clarity. They also bring the different elements of a track that have been recorded separately and “mix ” them together in to a master version. We highly recommend artist gets every track they record professionally mixed and mastered if they plan to release it online. Without going through this process, the final result will sound weak or unprofessional compared to other tracks.

MP A computer file format for the compression and storage of digital audio data

NFT N F g b e T e A token for something that doesn’t physically exist in the real world. An NFT gives you ownership of digital content, by providing a record of ownership using “blockchain” technology. NFT ’s use crypto assets virtual currency such as Bitcoin, to provide a certificate of ownership of the content that cannot be duplicated. Think of it as a digital certificate of authenticity. NFT ’s makes it possible to add value to things that exist on the internet.

N e A written symbol used to indicate duration and pitch of a tone by its shape and position on the staff.

Pa g Placing a sound in the left or right speaker.

Pe D e A per diem, or P.D, is a Latin phrase which means “per day ” and is an allowance or payment made for each day typically when an artist is touring.

Pe f a ce R gh O ga a PRO ASCAP, BMI, and SESAC are the three United States performance rights organizations. They pay royalties to songwriters and publishers based on performances of their songs on things like the internet or terrestrial radio, online, performed at live venues or clubs, played in business premises as background music or broadcast on TV. A published songwriter may affiliate with only one of the three.

MPE Curriculum Rev LaDall Enterprises

Pe f a ce R a Royalties are monies accrued from the use of an artist ’s music. When your track is copyrighted, you are eligible for a performance royalty whenever your track is performed in a public space or sphere, like on radio, or TV, or when it ’s played in a club or at a festival by a DJ or even when you perform it in public yourself at a licensed venue or event.

P g Software to extend your DAW with extra effects, processing or instrumentation.

PR This term means a public relations agent. They are responsible for an artist ’s presence and coverage in the press, and how their image is developed and portrayed. PRs may cover multiple fields or only be responsible for one i.e. print, online, TV although in the case of TV, they will often be referred to as a ‘ TV plugger ’ .

P e Re ea e No matter how established you are as an artist, you can’t beat a solid press release for getting the word out about your new release or project. Press releases are text bulletins sent to media outlets for the sole purpose of generating publicity for an artist or a new release.

P d ce Think Timbaland, Dr. Dre or Quincy Jones. These guys are the forces behind a record, responsible for managing its creative direction. They ’re a bit like a project manager, who has an overall vision for the music, and is in charge of the artistic success of a commercial project. How hands-on they are technically speaking varies from producer to producer, with the division of labor between them and the mix engineer varying accordingly.

P h f

This refers both to activities relating to the promotional cycle and also to a digital or physical mailout of a release to press and/or radio and club DJs, bloggers and anyone else with a platform where the release could be promoted. Where demos are unsigned, promos are generally sent by and on behalf of labels for releases they have signed, although independent artists or their PRs may also send out promos of music that they are giving away for free.

P b c D a Not copyright. This happens when copyright expires or the owner explicitly puts the material in the public domain

P b he Music publishers are focused on managing a composer and or songwriter ’s body of work to ensure that they are licensed, registered, and the earned royalties are paid. They also can get involved in the development and promotion of a track. While a label agrees to license an artist ’s work for a specific period of time in order to sell it as a physical or digital product, a publisher controls the copyright of those works in perpetuity, unless the artist cancels their agreement. Publishers manage all financial deals relating to reproduction of the lyrics, cover versions, sampling and licensing to third parties like films and adverts of their artists’ work.

P b h g Ag ee e A contract offered by a publisher to a songwriter. The publisher pays the songwriter a weekly or monthly sum of money, called a draw. The writer agrees to assign the publisher half of any future income his songs make. Recoupable. Reimbursable

P e a the number of individual beats in a specified time period. b rhythmical beating, vibrating, or sounding.

Rec d g I d A c a f A e ca RIAA An industry group comprised of record companies which awards gold or platinum status.

Re An official remix is created when a producer remixer gets the stems and then alters them in terms of tempo, beat, effects, etc to essentially create a new track. Unofficial remixes can change anything.

Re e b Reflection of sounds from surfaces; the sound of a room. More reverb can be added electronically with a plug-in.

R a When you copyright your music, you are eligible for royalty payments in exchange for permission to use your music in different ways. As a Spinnup artist, you keep of the royalties you earn, and can view your royalties you earn from fans streaming and downloading your music in the Earnings tab of your account.

Sa e A short pre-recorded sound, taken from one recording and used in another. The smallest unit of measurement in digital sound.

Sa g The process where a portion of an existing recording is used and/or adopted in the creation of a new recording.

Se e ce A MIDI sequencer can be used to record and edit a performance without using an audio-based input source. It doesn’t record the actual audio but the data what note was played at what time, etc.

Se M c a A musician who contributes to a recording or a live performance but is not actually a full-time member of the band.

Sh ca e An event staged to present a developing act to A R men in the hope of getting signed or to present a signed act to the media for promotion.

S c a M e a This refers to the money you make when your music is used on social media.

S c L ce e A Sync License is a publishing license to pay writers for music used in film, video or TV soundtracks. There is no fixed fee for sync licenses. Publishers set or negotiate these fees.

Te The speed of music. In BPM beats per minute , BPM for example is one beat a second.

T ac g Recording songs, on computer, recorder or tape. In a DAW, tracks contain audio and MIDI layers. Each instrument gets its own track.

MPE Curriculum Rev LaDall Enterprises

T ade a The legal protection of a trademark is about misuse of the business asset, passing off and confusing potential customers. It isn’t an exclusive right to the trademarked name.

UGC User Generated Content UGC describes any content text, videos, images, reviews etc created by people, rather than brands think TikTok users and music .

UPC The Universal Product Code UPC is a barcode widely used to track record sales and streams. Similarly to an ISRC, once you distribute your music either online or physically you will get a unique UPC which contains numerical digits. An ISRC represents a single track, or recording where as an UPC represents a body of work or product e.g. an EP or album .

Ve c The force at which a note is played.

V ec d An analog audio recording pressed in vinyl. The RPM record holds one song per side, while / RPM Long Play records hold an entire album. With the sound literally carved in a spiral groove starting at the outer edge of the platter, the undulations in the groove are an analog of the original acoustic waves. A needle stylus is placed in the groove, which oscillates as the platter rotates. The oscillations are converted to electricity, amplified, and sent to the speakers.

VST VST stands for Virtual Studio Technology plug-ins to bring extra instruments and effects into DAWs.

Wa F e Uncompressed lossless computer file format used for the storage of digital audio data.

Wa ef A soundwave’s shape, displayed on an oscilloscope.

We D A dry signal is a pure unprocessed sound, like a vocal recorded as is. A wet signal is a sound with effects on it.

XLR A microphone cable, with three prongs.

MPE Curriculum Rev LaDall Enterprises

1 S

Music Production Entrepreneurship MPE

Course Information

Credit Hours:

Teacher Information

Name: TBD

Year: First Email: TBD

Marking Period: TBD

Class Location: TBD

C e De c

Phone: TBD

Classroom: TBD

Conference Hour: TBD

Through hands-on exercise and projects, you’ll experience the process of producing a piece of music with your computer, from developing the original musical idea through distributing a final mix. This course will teach you not only how to design and configure a recording studio that supports your creative goals but also how to understand and utilize the most popular tools and techniques employed by music professionals. Whether you are a musician, artist, audio engineer, producer, aspiring studio owner or label boss, you need to know the business side of professional music if you want to successfully monetize your talents through the many streams of income available to you.

● Students will be able to define music production

● Students will be able to understand the process of creating a song

● Students will be able to identify the roles and responsibilities of music professionals

● Students will be able to explain and apply various marketing strategies

● Students will be able to listen to, analyze and describe the various genres of music

● Students will be able to apply skills and knowledge in real world settings

● Students will be able to communicate musically, orally and in writing

● Students will be able to think logically, critically and creatively

● Students will be able to demonstrate music literacy using a variety of music software

● Students will be able to employ technology as a learning and music-making instrument

S de E a a

Your final grade will be comprised of the following:

Classwork

Tests

Quizzes

Classroom Participation

Mid-Term Final

Extra credit opportunities may be provided at teacher ’s discretion.

In order for effective learning to occur, it is imperative that you maintain exemplary attendance. Based on the curriculum, each student is required to participate and engage daily in classroom assignments and projects.

Any missed work due to excused absences must be made up within a week upon return. Exceptions may be made for illness and valid emergencies.

C a E ec a

- Be on time

- Follow directions the first time given

- No food or drinks are allowed in the classroom

- Respect yourself and others i.e., no curing, no bullying; reflect your best at all times

- Handle all equipment with care no hitting or throwing equipment

- Handle all personal business before/after class

C a Re e e

Students will be required to bring daily:

✔ Laptop

✔ Blue/black ink pen

✔ Notebook

La e W P c

All incomplete classroom assignments must be completed as homework and returned the next day. If not received the next day, the assignment will be marked late and penalized five points each day late.

P ag a Chea g Acade c I eg

Plagiarism is the practice of copying words, sentences, images, or ideas for use in written or oral assessments without giving proper credit to the source. Cheating is defined as the giving or receiving of illegal help on anything that has been determined by the teacher to be an individual effort. No plagiarism allowed. No cheating allowed. Remain integral at all times.

Song Idea Concept

Structure Lyrical Content

August September

October November

Recording November January

Mixing Mastering

January February

Marketing March April

Distribution Sales April June