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Advanced
Beat Making Lab
Music 266
Spring 2024

Instructor: Prof. Maya Shipman (Professionally Known As Suzi Analogue)

analogue@unc.edu
Meeting Times and Places: Kenan Music Building 2030, Mondays, 2:30-5:30
Office: Hill Hall 219 / Beat Lab Hill Hall 109
Office Hours: Mondays 1pm-2pm, or Fridays 11am-1pm by appointment via my
Calendly.

Credit Hours: 3

Course Description:
“Beat making”, in modern terms, is the ability to compose musical arrangements for
commercial use through musical computer programming. The art of Beat making has
been most popularized in global culture by hip-hop producers, yet also includes
electronic music composers within musical traditions including house, techno, drum &
bass, dance, and various newer music genres that are primarily created by using a
blend of software and hardware equipment.

Building upon the foundations of Beat Making Lab (MUSC 156), Advanced Beat
Making Lab prepares students in professional beat making techniques technologically
and stylistically within various settings of the music industry. The course implements a
module-based instruction model, emphasizing student development in creating
multiple extended play projects (EPs) with different utilizations (For Studio, For Live
Performance, For Screen) concluding with the development of a Final Portfolio review,
using the computer-based DAW (Digital Audio Workstation) Ableton 11, MIDI
controllers, synthesizers and samplers, accessed in the Music Department’s Beat Lab.

Prerequisites: MUSC 156 or permission of instructor.

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Course Goals:
➔ Develop familiarity with the basic elements and musical patterns pertaining to the
temporal structure of music from a cross-cultural perspective.
➔ Acquire advanced skills in structuring beats, creating dynamic arrangements, and
crafting engaging compositions across many industry style requirements.
➔ Operate the industry-standard beat making software, hardware, and equipment to
produce music projects.
➔ Cultivate a unique artistic voice and style within the realm of beat making.
➔ Develop skills in close listening and music analysis and the ability to clearly
communicate analytical insight in written and oral form.
➔ Develop the ability to critically evaluate theories of musical structure, including the
power dynamics that have affected the ways knowledge about musical practices
have been historically represented in cross-cultural perspective, particularly with
respect to the relation between culture and musical rhythm.
➔ Present a portfolio of original beats and compositions that reflect technical
proficiency and artistic growth at an advanced level.

What’s In This Syllabus?

➔ Course Fundamentals
➔ Reading Resources
➔ Listening & Viewing Resources
➔ Equipment & Software Requirements
➔ Grading Procedures
➔ Accommodations Policy
➔ Office Hours
➔ Honor Code
➔ Campus Resources for Title IX and Mental Health
➔ Assignment Overview With Due Dates
➔ Week-By-Week Schedule
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Course Fundamentals:
On names: I am a teaching artist and many people call me by my professional artist
name, Suzi Analogue, being as such, I would love to be called Professor Analogue.
Many UNC documents list my birth name; Maya Shipman, and I am not against you
calling me either Professor Analogue or Professor Shipman - I will answer to both. My
pronouns are she/they. In addition to instructing, I also have other roles in my career
as a teaching artist including the Director of the Hip Hop Ensemble, producer,
songwriter and founder of a label and collective Never Normal I founded in 2014. As
an instructor who is also an artist who tours and actively participates in global music
culture, it is important for me to continuously build on my art practice, so don’t be
surprised to see new music projects, updates and videos from me while we are in
session!

Classroom Environment: Our classes are a music making lab that focuses on
beat making. Classes will blend lecture, discussion and in-class creation time so you
can develop your skills as critically-aware beat makers. This will be a trusting
environment where all parties can express themselves intellectually and creatively free
of negativity. Since beat making is a cultural art form, it is mandatory that our classroom
space remains a trusting environment for many perspectives to be shared.

Being as though beat making collaborations require hands on, physical meeting, mask
wearing is encouraged during group work, however not mandatory and at your
preference. Hand sanitization is also highly encouraged during periods of shared
music equipment use. I will at times instruct in a mask when in close proximity with
individuals and groups.

Group work will be highly valued and encouraged in this class. It is recommended to
meet with your peers throughout the semester for feedback and to build upon
fundamentals covered within class. Peer review will also be utilized during modules
throughout the semester.

Focus Time: At the start of each class, a brief period will be allotted for “focus time”
ahead of any instruction beginning. During this time, the instructor as well as students will
take time to prepare for the lab session. Focus time includes setting up any technical
and/or social aspects of the lab in preparation for the session ahead.
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Preparation: You are expected to arrive at class prepared to actively participate.

This means, bringing questions, music suggestions via the prompts and materials, and
being prepared to engage with your fellow classmates through creative discussion.

Canvas: The course work for this course will be provided & submitted through
http://canvas.unc.edu

Please Note: This class is one of the very first of its kind at UNC. We will all work
together respectfully and stay open to changes and updates as necessary for the
success of the course.

Readings:

There are no required texts to purchase. All assigned readings will be available on the
Pages section of the Canvas site for this course as well as in the schedule listed
below. Some readings will be assigned the day of class.

It is highly suggested to secure a personal copy of Making Music: 74 Creative

Strategies for Electronic Music Producers by Dennis DeSantis. A copy will also be
available in The Beat Lab space and the campus library.

Listening & Viewing:

Assigned weekly listening and viewing will be available on the Pages section of the
Canvas site for this course. Students are encouraged to suggest additional relevant
recordings or videos during the duration of the course. Music will also be added into a
weekly playlist. - https://nevernormal.us/uncplaylist
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Equipment & Software:

Students are responsible for having the following equipment:

★ A working laptop computer

★ Over-the-ear headphones (corded preferred)
★ Headphone jack splitter (available online)
★ 128 gig USB drive for audio files in Beat Making Lab course use only. (Sandisk
preferred: https://bit.ly/3BTv26t )
★ Students will be required to download and/or purchase Ableton Live Standard which
has a full-version 30 day free trial found on their website:
(https://www.ableton.com/en/trial/). Following the free trial, it will be expected for students
to purchase Ableton Live Standard. Ableton can be purchased at a discount through the
Music Department. Any other DAW arrangements must be approved by the instructor.
★ A MIDI Controller is required. Suggestions include: Akai MPK Mini MkII. Used products
are also recommended which can be found on reverb.com.
★ All Beat Making students will be required to create a Soundcloud.com account.
★ A bluetooth computer mouse is highly suggested but not required.
★ Students should also budget a modest amount for various music purchases relevant to
your own beat making process. Students for whom this would present a financial hardship
should speak to the instructor about possible subsidies.
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Coursework & Grading:

➔ Attendance and Participation: 20%
➔ Beat Making Journals: 10% (Due with each music assignment totaling 10 written
pages).
➔ Module #1 EP Project: 5%
➔ Module #2 EP Project: 5%
➔ Module #3 EP Project: 5%
➔ Advanced Beat Making Concepts
Quiz: 5%
➔ Writing Assignments: 5%
➔ Curatorial Reviews: 5%
➔ Final Beat Making Portfolio: 40% (Portfolio will include all beat making EP

assignments)

Total: 100%

The following will be used to assign letter grades:

A 94-100 B- 80-82 D 60-69

A- 90-93 C+ 78-79 F 0-59

B+ 88-89 C 73-77

B 83-87 C- 70-72

Please note: Semester grades will be rounded to the nearest whole number (e.g., 93.4
= 93 = A- and 93.5 = 94 = A).
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Attendance and Participation:

University Policy
No right or privilege exists that permits a student to be absent from any class meetings,
except for these University Approved Absences:
1. Authorized University activities
2. Disability/religious observance/pregnancy, as required by law and approved by
Accessibility Resources and Service and/or the Equal Opportunity and Compliance
Office (EOC)
3. Significant health condition and/or personal/family emergency as approved by the
Office of the Dean of Students, Gender Violence Service Coordinators, and/or the
Equal Opportunity and Compliance Office (EOC).
Additional information is available at the University Approved Absence Office.
Students are required to attend all classes. In addition to any University Approved
Absences, students may be absent from two classes without penalty; thereafter each
single absence will deduct 0.5% off the student’s final grade. Learn about University
Approved Absences—and submit a request—here.

Group project attendance is also expected. Students are also strongly encouraged to
attend office hours, in-person or virtual at least once during the semester.

Our classes meet in person and will not be recorded. No matter what the reason for
an absence, students are expected to contact Professor Analogue for communication
on missed instruction within 1 day of absence.

Class Policy
No matter what the reason for an absence, students are expected to contact
Professor Analogue for communication on missed instruction within 1 day of absence.

Please communicate with me early about potential absences. Please be aware that you
are bound by the Honor Code when making a request for a University approved absence.
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In Class Assignments:
During each class period students will be assigned tasks/assignments that are to be
turned in by the end of the class or the beginning of the next class. All materials
should have the date, student’s name, student’s Beat Making name, and the title of the
assignment as the header.

All files must be titled: STUDENT NAME_ ASSIGNMENT NAME.WAV

All music upload links must be uploaded by 11:59pm on the due date
of assignment. The audio uploads must include the accurate song
title and metadata in description.

Late Assignments and Make-up Tests: No late assignments will

be accepted and no make-up tests will be offered. Rare exceptions may be granted
for documented personal emergencies, religious observance, extended illness, or
other extenuating circumstances. These exceptions must be requested well in
advance of the day in question, unless doing so would be impossible. Evidence of the
extenuating circumstance must be presented to ever be considered.

Academic Integrity:
Students are expected to abide by the University’s Honor Code
(http://honor.unc.edu/honor/) at all times. All assignments and exams must include a
signed honor statement. No form of plagiarism (representing another’s words,
thoughts, or ideas as one’s own), cheating, or compromising the work of another
student will be tolerated. All graded work is to be completed individually, unless the
instructors specifically indicate otherwise.

Title IX Resources:
Any student who is impacted by discrimination, harassment, interpersonal (relationship)
violence, sexual violence, sexual exploitation, or stalking is encouraged to seek resources
on campus or in the community. Reports can be made online to the EOC at
https://eoc.unc.edu/report-an-incident/. Please contact the University’s Title IX
Coordinator ( titleixcoordinator@unc.edu), Report and Response Coordinators in the Equal
Opportunity and Compliance Office (reportandresponse@unc.edu), Counseling and
Psychological Services (confidential), or the Gender Violence Services Coordinators
(gvsc@unc.edu; confidential) to discuss your specific needs. Additional resources are
available at safe.unc.edu.
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Counseling and Psychological Services

UNC-Chapel Hill is strongly committed to addressing the mental health needs of a diverse
student body. The Heels Care Network website (https://care.unc.edu) is a place to access
the many mental resources at Carolina. CAPS is the primary mental health provider for
students, offering timely access to consultation and connection to clinically appropriate
services. Go to their website https://caps.unc.edu/ or visit their facilities on the third floor
of the Campus Health building for an initial evaluation to learn more. (source: Student
Safety and Wellness Proposal for EPC, Sep 2018; updated March 2022)

Accessibility Resources & Services:

The University of North Carolina at Chapel Hill facilitates the implementation of
reasonable accommodations, including resources and services, for students with
disabilities, chronic medical conditions, a temporary disability or pregnancy complications
resulting in barriers to fully accessing University courses, programs and activities.
Accommodations are determined through the Office of Accessibility Resources and
Service (ARS) for individuals with documented qualifying disabilities in accordance with
applicable state and federal laws. See the ARS Website for contact information:
https://ars.unc.edu or email ars@unc.edu.

Office Hours:
Usually I hold office hours in person from 1-2 pm on Mondays and 11am-1pm on
Fridays.. You can schedule a time on my http://calendly.com/professoranalogue
Meetings can be virtual, or preferably held in The Beat Lab found in Hill Hall 109.
There will also be open Beat Lab hours weekly held on Tuesdays and Thursdays
2pm-5pm.

UNC Beat Lab:The UNC Beat Lab is a community music space located in Hill Hall
109 where musicians can use a wide variety of DJ gear, electronic music tools, and digital
resources to practice, create, and collaborate on digitally recorded compositions.. Any
UNC student is welcome and encouraged to come use the space. Open hours are
Tuesdays and Thursdays 4-6pm. Learn more here.
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Assignment Overview
You can expect to receive a more extended explanation of each assignment over the
semester—these will also be posted on Canvas > Assignments.
Additionally, you will find our module-based coursework in Canvas > Modules

Beat Making Portfolio:

To prepare you for world class beat making, you will create a portfolio including every
audio project you make during this course. These audio files are to be uploaded and
organized into a PDF portfolio featuring EP artwork and a link to your updated
Soundcloud that features the EPs. All projects are to be uploaded by the given due
dates.

A backup of all exported audio and Ableton project files are also to be saved onto
your dedicated flash drive (listed in Equipment & Software section). Your Portfolio is a
significant part of your grade and will be reviewed during midterm mark and at the
end of the semester for a Final Presentation (Final Portfolio).. Your portfolio
components will be presented to the class throughout the entire course, including EP
review presentations. All presentations count toward your Participation Grade.

Soundcloud Profile:
Your Soundcloud profile is integral to this course.
Due date to create and/or update your profile is: Jan 23, 2023.
Your profile link must be shared to Canvas by the due date.
All audio assignments in this course must be uploaded & organized per the requirements
to your Soundcloud profile for full grade.

Beat Making Journal:

To chart your beat making progress, you will be asked to do a small activity and write
a response to it in your journal focusing on the weekly development of your EP
project. An entry is also due in addition to completing each EP. All journals are a 5
paragraph (4 sentences per paragraph) minimum.

The collection of all entries is due alongside your Final Beat Making Portfolios.
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Quiz:
You will receive one quiz on Advanced Beat Making Concepts. Quiz due on : March 4,
2024

Writing Assignments:
There will be 2 writing assignments due during this course:
The first, a Beat Maker Industry Analysis Paper (5 Pages) is due on: March 4, 2024 by
12pm. The second is your Final Beatmaking Reflection essay (5 pages) due on the final
exam date May 2nd, 2024 along with your Final Portfolio
These assignments are designed to build your skills as a writer within a musical context
specific to beat making. Rubrics for these will be shared ahead of their due date as well as
in Canvas > Rubrics.

Studio EPs:
In the music industry, an EP stands for Extended Play project. EPs contain 3-4 tracks and
total 15 minutes of music typically and are shorter than what is expected for albums. At the
end of each Beat Making module, each student will submit a Studio EP that includes final
beats made during that module period. This EP will undergo curatorial review from peers
as well as a review panel for feedback and grading.

In-Class Open Studio:

A portion of each instruction-centered class will be dedicated to you working in-class as
individuals or in collaborative groups on your upcoming Studio EPs. During the observed
time, it is encouraged that students work directly on the music concepts shared during
that class. This is a designated class time to get ideas down, ask for feedback, technical
assistance and overall support as you compose your beats.

Curatorial Review:
In order to build on concepts found within the music industry, your EPs will be subjected
to a curatorial review by your peers as well as a small guest panel invited by the professor
throughout the semester - typically at the end of each module and during the midterm and
final periods. The curatorial reviews will provide constructive feedback for you in order for
you to compose your beats to the best quality of your abilities. A composite grade of
these reviews combined will become your curatorial review grade.
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Extra Credit: Throughout the semester, there may be opportunities granted by the
instructor to collaborate with other classes that I instruct musically. In the event that you
are given an opportunity to collaborate with another class (Rap Lab, Hip-Hop Ensemble),
you may qualify for an amount of extra credit points that will be at the discretion of the
instructor, shared at the time of the opportunity. Unsolicited extra credit will not be
accepted.

Syllabus Changes:
The professor reserves the right to make changes to the syllabus, including project due
dates and test dates. These changes will be announced as early as possible.
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Lab Schedule Sample:

(Subject To Modification)
Throughout the duration of our Beat Making Lab, students will explore 3 Beat Making
modules that will require Studio EP project submission at the end of module’s
completion.

Week 1: No Class - Happy MLK Jr. Day

Jan 15

Week 2: Introductions: Review Of Syllabus & Course Expectations

Jan 22 + Building Studio Foundations

➔ Assignment: JOURNAL #1: Write an entry of your current goals as a

beat maker and what you would like to focus on over the course of the
semester. Bring in one studio album that best represents the style you
wish to touch on for your Module 1 EP with a brief musical analysis on
the effective beat making concepts included in the EP. To be shared and
workshopped during Week 3.

Week 3: Getting Started: Introduction To Module 1: Beat Making

Jan 29 For Studio
This module focuses on cultivating beat making structure techniques for popular
recorded styles. There will be an emphasis on learning how to program music that is
collaborative between artists, engineers and other project-based entities. We will
touch on aspects of MIDI Sequencing and building technological skills to prepare beat
makers for studio sessions. For this module, we will deep dive into case studies on
significant modern music releases.

➔ Focus: Mapping Out Your Beat Making Tool Kit

➔ In-Class: Open studio for beat making.
➔ Read: DeSantis, 74 Creative Strategies For Electronic Music Producers
pgs 18-20
➔ Assignment: JOURNAL #2 - Write an artist statement for your EP
concept. Share a brief declaration of the overall feeling, sonic goal and,
your approach, your style, your subgenre, your general content range,
what you want a potential fan who has never heard you to walk away
with. To be shared and submitted for feedback during Week 4.
➔ You must create your full updated Soundcloud profile by Week
3 and submit your link to Canvas.
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Week 4: Module 1: Beat Making For Studio Continued

Feb 5 ➔ Read: DeSantis, 74 Creative Strategies For Electronic Music Producers
pgs 269-274

➔ Focus: Style Study- Beat Making Techniques For Rap/Sung Styles

➔ Assignment: BEAT MAKING - Record up to 2 full beats (maximum
duration 3 minutes), one for a rap style track and one for a sung vocalist.
Record your beats and upload to your Soundcloud profile. Reflect on
thoughts of your full beats and add a short reflection on your sonic
process to your Journal #3.To be shared for group feedback during Week
5.
➔ In-Class: Open studio for beat making.
QUIZ: Advanced Beat Making Concepts Quiz (Take Home) - Due by Week 6

Week 5: Module 1: Beat Making For Studio

Feb 19
➔ Focus: Style Study - Beat Making Techniques For Radio Play
➔ In-Class: Workshop Of EP previews
➔ Assignment: BEAT MAKING - Revisit your EP beat demos and
update the arrangement of the compositions to fit into a radio play
format. Record up to 2 additional full beats for your EP (maximum duration
3 minutes). Update your beat arrangements to include key techniques for
radio play to present on your EP. Reflect on thoughts of your updates and
add a short reflection on your sonic process to your Journal #4. During this
week, you are also open to collaborate with other musicians and/or
vocalists to finalize your EP beats.
➔ Paper Goes Live: Select a music industry concept to focus on a
market analysis that relates to your interests as a beat maker.

Week 5: Module 1: Beat Making For Studio EP + Analysis Due

Feb 26 ➔ Presentation Day: Formal presentation of your EP to the class.
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Week 6: Introduction To Module 2: Beat Making For The Club

March 4
As music festivals and dance music continue to be programmed globally, this
module focuses on beat making for electronic and dance genres as well as
many global sub-genres from creation to performance. We will explore MIDI
controllers and hardware that support live beat making performance for the
dance world. In addition to exploring key elements of global dance sub-genre
song structures, we will discuss the cultural significance of beat making in
different global regions. We will also explore the evolution of sound system
culture and how it directly has impacted beat making for dance genres.

➔ Focus: Style Study: Regional US Club Music Styles In Beat Making

➔ Assignment: Journal #5 - Write an entry of your current goals as a
beat maker who will compose a club-focused EP. Bring in one studio album
that best represents the club/ electronic style that you wish to touch on for
your Module 2 EP with a brief musical analysis on the effective beat making
concepts included on the album. To be shared and workshopped during
Week 8.
➔ In-Class: Open studio for club beat making.

MIDTERM MARK:
Beat Maker Industry Analysis Paper Due.
Advanced Beat Making Concepts Quiz Due.
Class Survey Due.

Week 7: No Class Happy Spring Break!

March 11

Week 8: Module 2: Beat Making For The Club Continued

March 25
➔ Focus: Style Study: Global Dance Rhythms In Beat Making
➔ Assignment: BEAT MAKING - Record up to 2 full beats (maximum
duration 3 minutes) featuring 2 different global rhythm styles covered in
class. Record your beats and upload to your Soundcloud profile. Reflect on
thoughts of your full beats and add a short reflection on your sonic process
to your journal #6. To be shared for group feedback during Week 10.
➔ In-Class: Open studio for club beat making.
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Week 9: Module 2: Beat Making For The Club

April 1 ➔ Focus - Style Study: Soundsystem Culture + Performance In Beat Making
➔ In-Class: Open studio for club beat making.
➔ Assignment: BEAT MAKING - Record up to 2 full beats (maximum
duration 3 minutes) featuring 2 different sound system-inspired styles
covered in class. Record your beats and upload to your Soundcloud
profile. Reflect on thoughts of your full beats and add a short reflection
on your sonic process to your journal #7.

Week 10: Module 2: Beat Making For Club EP Due

April 8 ➔ Presentation: Formal presentation of your EP to the class

Week 11: Introduction To Module 3: Beat Making For Screen

April 15
The demand for beat making has evolved beyond primary usage in commercial
songs, and has now entered into normative utilizations in film, TV, video games,
and advertisement. In this module, students will apply beat making compositions
to scenarios involving beats for moving images. This module will explore a
technological emphasis on sound design.

➔ Overview Of Beat Making For Screen: Film, TV, Video Games,

Advertisements Focus- Style Study: Creating Beats For Moving Picture
In Ableton Live 11
➔ Assignment: Journal + BEAT MAKING - Write an entry of your
current goals as a beat maker who will compose for a tv scene or video
game.

Prepare a short 30 second visual clip in Ableton Live 11 and begin to

compose a beat over the clip. Record your final 2 beats and upload to
your Soundcloud profile. Reflect on thoughts of this sound and add a short
reflection of this process to your journal.To be shared during Week 12.

Week 12: Module 3:Beat Making For Screen (Continued)

April 22
➔ Focus - Style Study: Creating Beats Video Games In Ableton Live 11
➔ Assignment: BEAT MAKING - Prepare a short 30 second visual clip
in Ableton Live 11 and begin to compose a beat over the clip. Record
your final 2 beats and upload to your Soundcloud profile. Reflect on
thoughts of this sound and add a short reflection of this process to your
journal.To be shared during Week 13 presentations.
➔ In-Class: Overview of Final Portfolio & Open studio for beat
making for moving picture.
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Week 13: Module 3: Beat Making For Screen EP Due

April 29 ➔ Presentation: Demo day & presentation of your EP to the class.

➔ In-Class: In-Class Peer Share & Review Of Portfolio Projects For

Feedback to review panel.
➔ Focus - Entrepreneurship & Presenting Your Portfolio To Clientele

➔ Assignment: Considering all feedback, prepare your final Beat

Making Portfolio including all assignments into a PDF document. Portfolio
uploads must include artwork with titles on all uploads. All uploads must
also include correct beat titles in metadata with full beat descriptions.

Thursday FINAL PORTFOLIO DUE INCLUDING ALL BEAT MAKING

May 2 ASSIGNMENTS:
➔ Assignment: Create a PDF document portfolio featuring bio,
updated Soundcloud link, and the content of each EP along with
created media from the entire semester. Your project must be fully
uploaded by the given date and time. This PDF document must be
uploaded onto CANVAS by the given date (May 2).

FINAL BEAT MAKING REFLECTION PAPER DUE.