밝은 미래

체험 수업이나 견학을 신청할 수 있다.

체험 수업 시간이 보통 새 학생이 들어가기에 적합한 수업 시간.

전국 교실 별로 수업 시간 등이 다르다.

2~6인 그룹 레슨은

월 3회 시간 당 3500엔 정도 꼴.

입회비 10,000엔, 교재비 4000엔 별도.

입회비는 일부 같은 회사(?) 쪽 야마하 음악 교실만 제휴가 돼 있어서 공통.

처음에 2달 치 레슨비를 낸다. 그 다음부터는 자동이체.

아.. 음악은 비싸구나.

시설과 선생님이 짱 좋다.

로비는 무척이나 깔끔하고 고급스럽다.

강의실도 좋다.

반주해주는 음악 기계도 좋다.

악기를 빌려주니까 그것도 좋다.

체험 수업 마지막에 선생님이 1곡 연주를 해 주는데,

적막한 공간에서 아름다운 생음악을 듣고 나면, 등록해야 한다는 마음이 불끈 들어 버린다.

아, 음악 연주를 배우는 것이란 정말 좋구나..

돈과 시간만 있으면 분에 넘치도록 배우고 싶다.

마음을 뒤짚어 까서 상쾌한 공기를 맡게 해 준다..

http://www.jill-music.com/english/

http://tokyoviolin.blogspot.jp/

CLASSES/RATES 
30 minutes lesson ~ 3000 Yen
45 minutes lesson ~ 4000 Yen
60 minutes lesson ~ 5000 Yen (only advanced students)

강의 품질

발표자료와 서 있는 선생님을 동시에 본다.

자막도 나온다.

South African 설생님

영어 발음은 보통.

지금은 공부를 즐겨 하지는 않지만, 가끔 가볍게 하는 것에는 거부감이 없는 정도의 일반인과 함께 볼 동영상 강의를 찾기

누구나 관심을 가질 만 한 교양 과목에

음악, 미술, 세계사, 영어, ...

등이 있겠다.

coursera 지나간 음악 강의

Berklee College of Music
Songwriting
Learn an efficient, effective process for writing songs that express your ideas and emotions, including a range of tools that revolve around the concept of prosody—the matching of lyrics and music to support your underlying message.

https://www.coursera.org/course/songwriting

Berklee College of Music
Jazz Improvisation
Learn the basic concepts of improvisation from Gary Burton, one of the most renowned improvisers in the jazz world, including the mental, melodic, and harmonic processes that contribute to the instinctive skills that an improviser puts to use when taking a solo.

https://www.coursera.org/course/improvisation

The University of Edinburgh
Fundamentals of Music Theory
This course will introduce students to the theory of music, providing them with the skills needed to read and write Western music notation, as well as to understand, analyse, and listen informedly. It will cover material such as pitches and scales, intervals, clefs, rhythm, form, meter, phrases and cadences, and basic harmony.

https://www.coursera.org/course/musictheory

University of Rochester
History of Rock, Part One
Learn about the early days of rock music, from the pre-rock years of the post World War II era through the birth of rock in the mid 1950s to the psychedelic era of the late 1960s.

https://www.coursera.org/course/historyofrock1

Berklee College of Music
Introduction to Guitar
https://www.coursera.org/course/guitar

coursera 세계사, 문학 강의

Princeton University
A History of the World since 1300
This course will examine the ways in which the world has grown more integrated yet more divided over the past 700 years.
https://www.coursera.org/course/wh1300

Wesleyan University
The Ancient Greeks

개 수의학

University of Minnesota
Canine Theriogenology for Dog Enthusiasts

https://www.coursera.org/course/theriogenology

동물 행동학

The University of Melbourne
Animal Behaviour

영화

University of London International Programmes
The Camera Never Lies

edx music

UT.8.01x: Jazz Appreciation
Listen and learn about the artists, eras, and musical methods that make jazz a great original art form.
STARTS: 21 Jan 2014INSTRUCTORS: Jeffrey HellmerUTAustinX
BerkleeX: bcm-mb110x - Introduction to the Music Business
learn more
new
BCM-MB110x: Introduction to the Music Business
This course will survey key aspects of an evolving industry from recording, publishing, and distribution to legal issues confronting music commerce.
STARTS: 27 Jan 2014INSTRUCTORS: John P. KelloggBerkleeX
PekingX: 04332960x - Music in the 20th Century
learn more
current
04332960X: Music in the 20th Century
The course aims to provide a clear view of the historical development of music and emphasizes the training of aural skills. (Taught in Mandarin.)
STARTS: 23 Sep 2013INSTRUCTORS: Bryan MinghuiPekingX

edx에서 history, health & safety 등을 찾아보는 것도 좋겠다.

edx writing

Curtis Institute of Music
Exploring Beethoven’s Piano Sonatas

열정있는 피아니스트 선생님이 가르쳐준다.

선생님이 piano 치는 것을 듣는 것도 좋다.

음악을 하고 싶다는 생각이 막 든다. 직접 연주를 해서 자기 감정을 넣어 보고 싶다는 충동이 든다.

피아노를 칠 때, 선생님 입에서 나는 바람 소리가 마이크를 통해 들리게 되는 것은 약간 단점.

베토벤이 불쌍하게 살았네.

음악에 그 나름대로의 느낌이 있다.

Week One: How Things Were

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The Beethoven Sonatas matter not only because of their astonishingly high quality, but because they represent a pivot point in the history of music: With these 32 works, Beethoven first perfected a form which had only recently been invented, and subsequently wrestled with every aspect of it. The relentlessness of his imagination – his challenge to all of the form’s essential qualities – made the sonata one of music’s signature structures, but also rendered it nearly obsolete by the time he was finished with it.

To examine the relationship Beethoven had with the piano sonata, we begin by looking at its origins. In this class, we will discuss the role of music generally, and of the sonata specifically, in the time of Haydn and Mozart. This class will also provide an introduction to the form of the sonata – to the psychological effect sonata structure has on the listener. This background will be necessary to appreciate the innovations Beethoven introduces.

Week Two: The First 13

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Beethoven’s work has traditionally been divided into three or four periods. This is problematic, for various reasons, but the first 13 of the 32 sonatas do in a sense form a unit. This class will focus on the sonata number 4, opus 7, which is the largest and altogether one of the most impressive of the early works. Topics will include Beethoven’s use of the piano, and the use of the sonata as a “vehicle” for the pianist; the ways in which this and other early sonatas conform to the model established by Haydn and Mozart, and the ways in which they do not; and the foreshadowing of the fixations of the later years, while holding, at least on the surface, to the conventions of the time.

Week Three: New Paths

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Beethoven’s conception of the sonata was perpetually in flux, but the year 1801 is a particularly experimental one. The four sonatas opus 26 through 28  (numbers 14 through 17, chronologically) feature the most concrete innovations among the sonatas written up to that point, and are the focus of this class. There will be discussion of the relationship between the movements in a classical sonata, and the radical shift it begins to undergo at this point. We will also examine the ways in which these sonatas were influential to future generations of composers, which the earlier works, great as they are, were not.

Week Four: Crisis

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From 1793 until 1809, Beethoven composed at a steady pace. But for the next several years, he stalled dramatically, as he dealt with the onset of his deafness, severely trying personal circumstances, and the struggle to find what would become his late style, which to a remarkable degree involved the total reinvention of his musical language. This class examines the intersection of these three issues, and between his life and music more generally. Works discussed come from this comparatively fallow period and will include the Fantasy, Op. 77, which exemplifies the vital role improvisation played in all of Beethoven’s music, and the Sonatas opus 78, and 81a, the “Lebewohl”.  The last of these is one of Beethoven’s only serious experiments with program music, which made it an important reference point for many 19th-century composers. Another topic will be the ways in which the works of this period seem to manipulate time, which was always one of Beethoven’s key fascinations, and becomes ever more critical moving into the late period.

Week Five: Towards Infinity

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For the final lecture, the focus will be on the Sonata Opus 109, the first of the final three, in which Beethoven’s decades-long grappling with the form comes to its astonishing conclusion. We will also look back at the early period – the Sonata Opus 10 number 1 (the seventh he wrote) in particular – for the purposes of “zooming out”, and examining the evolution that took place in the interim: an evolution not just of form, but of style, of musical language, of Beethoven’s conception of the role of music. This lecture will also include a discussion of Beethoven’s legacy – specifically, of the way in which his music came to represent simultaneously the highest possible aspiration and the most insurmountable problem for generations of composers who followed him.