MUSCOMP 2002 - Composition 2B
North Terrace Campus - Semester 2 - 2015
General Course Information
Course Code MUSCOMP 2002 Course Composition 2B Coordinating Unit Elder Conservatorium of Music Term Semester 2 Level Undergraduate Location/s North Terrace Campus Units 3 Contact Up to 4 hours per week Available for Study Abroad and Exchange N Prerequisites MUSCOMP 2A Restrictions Available to Bachelor of Music students only Quota 6 Course Description The composition course seeks to develop advanced skills in a broad range of stylistic approaches for composing music primarily in the classical tradition.
A comprehensive study of the artistic, theoretical and practical dimensions of music composition is delivered in a variety of modes including individual tuition, lecture and tutorial. The course covers the traditional framework of music composition including form, harmony, counterpoint, orchestration, notation and text setting, along with studies in aesthetics, contemporary media and music technology. Opportunities are provided for ensemble performance and interdisciplinary experience in the areas of film, dance and theatre.
Attention is given to the practical, vocational aspects of creative music making and the course seeks to develop composers who are technically well equipped in both traditional and modern compositional practice.
Course Coordinator: Professor Graeme Koehne
The full timetable of all activities for this course can be accessed from Course Planner.
Course Learning Outcomes
- a broad knowledge and appreciation of musical repertoire and an understanding of the essential stylistic features of a diverse range of musical genres focussing on the contemporary “classical” tradition.
- insight into contemporary aesthetic issues and an appreciation of the relationship of music to other artforms.
- skills in creating original musical works demonstrating command of both traditional compositional craft and contemporary musical techniques and approaches.
- a high level of competence in the practical aspects of composition: notation; score presentation; use of instrumental and vocal resources; orchestration and music technology.
- an ability to communicate musical intentions clearly and effectively to performers.
- a capacity to imaginatively develop musical materials through a comprehensive study of the principles of musical structure, melodic writing, harmonic and rhythmic invention, counterpoint, instrumental colour and texture.
- the composer’s ability to project individual aesthetic ideas through their compositions.
- awareness of the professional practices of a career in composition.
University Graduate Attributes
This course will provide students with an opportunity to develop the Graduate Attribute(s) specified below:
University Graduate Attribute Course Learning Outcome(s) Knowledge and understanding of the content and techniques of a chosen discipline at advanced levels that are internationally recognised. 1, 2, 3, 4, 5, 6, 7, 8 The ability to locate, analyse, evaluate and synthesise information from a wide variety of sources in a planned and timely manner. 1, 2, 4, 6 An ability to apply effective, creative and innovative solutions, both independently and cooperatively, to current and future problems. 3, 5, 6, 7 Skills of a high order in interpersonal understanding, teamwork and communication. 5, 7, 8 A proficiency in the appropriate use of contemporary technologies. 2, 3, 4, 8 A commitment to continuous learning and the capacity to maintain intellectual curiosity throughout life. 1, 2, 7 A commitment to the highest standards of professional endeavour and the ability to take a leadership role in the community. 5, 7, 8 An awareness of ethical, social and cultural issues within a global context and their importance in the exercise of professional skills and responsibilities. 2, 7, 8
Students enrolled in the Composition Major should own, or have easy access to, a computer running Sibelius (or Finale) music notation software and a sampled instrument library such as Garritan Personal Orchestra.
Students should make use of the resources of the Elder Music Library and the Electronic Music Unit. Students are also encouraged to attend the general musical activities of the Elder Conservatorium such as concerts, rehearsals, masterclasses, workshops and guest lectures.
Students should familiarize themselves with online resources such as the Petrucci Music Library of the International Music Score Library Project (www.imslp.org); Garritan.com; and digital media stores such as iTunes, Amazon etc.
Learning & Teaching Activities
Learning & Teaching Modes
Individual tuition (.75 hr per week) (Major only) For those enrolled in the Composition major only - develops skills in composition for various instrumental and vocal ensembles and expands knowledge of musical styles, structures, notation and score presentation.
Technical Studies (1.5 hr per week) (Major and Elective) This seminar provides the opportunity for the theoretical and historical study of the resources, techniques and styles of contemporary music principally in the classical tradition. Topics are presented in a 3-year cycle. Technical Studies is a seminar format class and students may be expected to give in-class presentations on set topics during the year. In addition to these topics occasional sessions will be set aside for guest speakers (subject to availability) or to enable guided discussion of issues related to contemporary musical aesthetics and practice based on materials handed out in class.
Composers’ Workshop (1.5 hr per week) (Major and Elective) provides for practical engagement with individual instruments and small ensembles (subject to availability) and the performance of student compositions specifically composed for this class. Mr David Harris coordinates this class and will provide details of schedule and assessment.
The information below is provided as a guide to assist students in engaging appropriately with the course requirements.
Students should be aware that the major assignments for Technical Studies are generally given out as close as possible to weeks 4 and 10 of each Semester and the submission dates are approximately 3 weeks after distribution. Composer’s Workshop assignments are scheduled in class and are based around compositional activities relating to available performer resources.
Learning Activities SummaryThe Technical Studies class is based on a three-year cycle of teaching modules. This year the topics are:
Semester 1: Weeks 1-6 Modal Resources and Techniques
Semester 1: Weeks 7-12 Modernism and Atonality
Semester 2: Weekes 1-6 The History and Techniques of Film Music
Semester 2: Weeks 7-12 Minimalism and Music
(Subject to variation depending on the availability of guest speakers and forum discussions etc.)
Specific Course Requirements
From time to time students may need to make themselves available for attendance at rehearsals, workshops, performances and guest seminars.
The University's policy on Assessment for Coursework Programs is based on the following four principles:
- Assessment must encourage and reinforce learning.
- Assessment must enable robust and fair judgements about student performance.
- Assessment practices must be fair and equitable to students and give them the opportunity to demonstrate what they have learned.
- Assessment must maintain academic standards.
Assessment SummaryAssessment structure depends on whether you are enrolled in Composition as a Major (Composition 1A/1B;2A/2B;3A/3B) or as an Elective (Techniques of Composition 1A/1B;2A/2B;3A/3B).
COMPOSITION (MAJOR) 1A/1B;2A/2B;3A/3B;(1001/1002; 2001/2002; 3001/3002)
3 units per semester
Individual Tuition: 50% of final mark for Composition (Major) 1A/B;2A/B;3A/B:
Semester 1 Assessment: Students are required to submit two of the required 4 works for the folio completed (or at an advanced stage towards completion) to their teacher by noon on Monday, June 29, 2015. These works will be assessed together with a teacher’s report on student progress. Semester 2 Assessment: Students are required to submit a folio of 4 complete works (equivalent to the specifications listed below and including the two Semester 1 works) to the Hartley office by noon on Monday, November 2, 2015. Students will attend a 15’ panel interview (Viva Voce) on Wednesday, November 14 to discuss their folio. Interviews will be scheduled late in Semester 2.
Technical Studies: 25% of final mark for Composition (Major) 1A/B;2A/B;3A/B. 4 assignments listed below due approximately 3 weeks after distribution (around weeks 4 and 9).
Composers’ Workshop: 25% of final mark for Composition (Major) 1A/B;2A/B;3A/B. Attendance and participation form a large part of the final assessment for this component. Composition assignments are set throughout the year.
N.B. Works composed for one component may NOT be submitted for assessment in another component. (i.e. A work written for Composers’ Workshop cannot be included in your Composition folio for the individual tuition component.)
TECHNIQUES IN COMPOSITION (ELECTIVE) 1A/1B;2A/2B;3A/3B (1011A/B; 2011A/B;3011A/B)
3 units for the full year
Semester 1: 50% of the total for the full year comprised of: 25% Technical Studies assignments 25% Composers’ Workshop assignments (See details below)
Semester 2: 50% of the total mark for the full year comprised of: 25% Technical Studies assignments 25% Composers’ Workshop assignments (See details below)
Assessment Related Requirements
Composers’ Workshop is a performance-based class and full attendance is expected.
Assessment DetailComposition Folio guidelines (Composition Major ONLY):
First Year: total duration 20’ – content as agreed in consultation with your teacher - to include a set of short piano pieces; a song for voice and piano; a string quartet; a chamber work for small mixed ensemble. (2 works to be submitted by mid-year)
Second Year: total duration 25’ – content as agreed in consultation with your teacher - to include a small scale mixed chamber work; a choral work; a string quartet; an orchestration of one of your previous piano works (or similar). (2 works to be submitted by mid-year)
Third Year: total duration 30’ – content as agreed in consultation with your teacher - to include a work for chamber ensemble; a string quartet; an orchestral piece; a short collaborative/cross-artform piece (theatre, dance, film, multimedia). (2 works to be submitted by mid-year)
The above guidelines indicate the minimum expectations for a folio. In addition to the minimum specifications outlined above you are expected to work on any composition activities that may present themselves during the year – i.e. opportunities to compose for film, theatre and dance projects. ALL students are expected to submit work for these projects and include their submissions in their final folio.
Technical Studies Assignments: (Composition and Techniques of Composition students)
Assignment 1: Select and analyse a short piano piece that employs modal resources; provide an 800-word summary and - most importantly - a neat, systematically annotated copy of the score. Identify and analyse the thematic materials and describe the way they are developed; discuss other elements such as form and the use of rhythm and harmony. Pay particular attention to describing and indicating the modes employed. Do NOT waste time on biographical and background information. Include musical examples with your text. (800 words and annotated score)
Assignment 2: Write an analytical essay on the music in a feature film of your choice. (Do NOT choose a musical or song-based film.) A brief introduction (about 300 words) should provide some background on the film (history and style) - and the composer - but the bulk of the essay should take the approach described below:
Describe the stylistic features of the music and the composer’s approach to the way the music functions in relation to the narrative and visual aspects of the film. Provide and analyse musical examples of thematic material (you may need to transcribe these by ear) and describe how this material is used and varied within the context of the film. As always, provide a bibliography and use footnotes. (1200 words)
Assignment 3: Choose a composer from the following list and discuss their music. Consider their influences, aesthetics, compositional techniques and relationship to Modernist philosophy. Keep biographical material to a minimum and only to what is relevant to the music. Include analytical observations on at least three pieces and provide musical examples with the text. (1200 words)
Pierre Boulez, Witold Lutoslawski, Karlheinz Stockhausen, Gyorgy Ligeti, Luciano Berio, John Cage, Milton Babbitt, Elliott Carter,Iannis Xenakis, Olivier Messiaen, Krzysztof Penderecki, Gerard Grisey, Peter Maxwell Davies
Assignment 4: Write an essay comparing and contrasting the work of a composer – working within an essentially Minimalist aesthetic and technique – and an exponent of Minimalism in another art form (visual arts, literature, theatre or dance). The discussion should concentrate on a comparison of technical, stylistic, aesthetic and philosophical aspects relating to both artists’ work. Do NOT include unnecessary biographical material; concentrate on discussing the work and ideas of the artists. (1200 words)
Assessment is based on attendance, participation and a series of short composition assignments set throughout the year. Refer to the separate Composer’s Workshop Course Outline provided by Mr David Harris. In mid-Semester 2 students will be expected to submit 3 audio sketches for the annual collaboration with AC Arts Film and Television School.
SubmissionComposition folio to be submitted as directed by Head of Composition.
Grades for your performance in this course will be awarded in accordance with the following scheme:
M10 (Coursework Mark Scheme) Grade Mark Description FNS Fail No Submission F 1-49 Fail P 50-64 Pass C 65-74 Credit D 75-84 Distinction HD 85-100 High Distinction CN Continuing NFE No Formal Examination RP Result Pending
Further details of the grades/results can be obtained from Examinations.
Grade Descriptors are available which provide a general guide to the standard of work that is expected at each grade level. More information at Assessment for Coursework Programs.
Final results for this course will be made available through Access Adelaide.
The University places a high priority on approaches to learning and teaching that enhance the student experience. Feedback is sought from students in a variety of ways including on-going engagement with staff, the use of online discussion boards and the use of Student Experience of Learning and Teaching (SELT) surveys as well as GOS surveys and Program reviews.
SELTs are an important source of information to inform individual teaching practice, decisions about teaching duties, and course and program curriculum design. They enable the University to assess how effectively its learning environments and teaching practices facilitate student engagement and learning outcomes. Under the current SELT Policy (http://www.adelaide.edu.au/policies/101/) course SELTs are mandated and must be conducted at the conclusion of each term/semester/trimester for every course offering. Feedback on issues raised through course SELT surveys is made available to enrolled students through various resources (e.g. MyUni). In addition aggregated course SELT data is available.
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This section contains links to relevant assessment-related policies and guidelines - all university policies.
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