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Pre-Requisite: MUS 144 & 145 or permission of instructor.
Grading |
Attendance |
Week 1 |
Week 2 |
Week 3 |
Week 4 |
Week 5 |
Week 6 |
Week 7 |
Week 8 |
Week 9 |
Week 10
This course is an introduction to composition addressing topics such as phrase structure, melodic development, modulations, text setting, accompaniment styles, textures, colors, form and compositional devices used in the common practice period. In addition the course will address styles of certain composers and significant influential works. Current trends in composition and current leading composers will also be discussed.
The purpose of this course is to assist the student with the skills and knowledge needed for music composition including the study and implementation of current compositional techniques and the study of different aesthetic viewpoints. The course is designed for students to explore the creative side of music by writing original works for a piano and small combinations of instruments in a variety of styles. Course content will draw upon elements of music theory, form, counterpoint, compositional methods, style, orchestration, historical perspectives, and analytical methods. This is a non-electronics course. However, students are encouraged to put all projects on a notation graphics program.
Students will develop the necessary skills to:
- Identify forms and structural elements in compositions including: form, phrase structure, modulations, and transitions.
- Aurally identify, discuss, and analyze formal structures of a composition including: form, key centers, modulation, secondary functions, tonicization, chromaticism, change of orchestration, transitions, types of modulation, and compositional techniques.
- Understand the performance practice of certain composers and compose melodies, harmonies, and accompaniments in the style of selected composers.
- Recognize the “voice” certain composers exemplify in their music, explore what characterizes such a “voice,” and find ways to begin to create their own “voice.”
- Understand and incorporate terminology/techniques pertaining to melodic development, form, structure, harmony, style, and compositional techniques.
- Compose original works incorporating theoretical knowledge while developing a creative and unique “voice.”
- Attendance at all regularly-scheduled classes
- Significant contributions to in-class discussions
- Seminar presentation of a selected significant composer
- Midterm and Final Terminology and Listening Tests
- Successful completion of writing or analysis assignments
- Successful completion of listening assignments
- Submission of a final composition project
- Understanding and application of Notation Software
| Homework/Listening Assignments |
25% |
| Composition Projects |
20% |
| Composer Presentation |
10% |
| Class Attendance and Discussion |
10% |
| Final Composition Project |
15% |
| Midterm Terminology /Listening Test |
10% |
| Final Terminology/Listening Test |
10% |
The final grade is determined based on the following percentage allocation.
- 90-100=A
- 80-89=B
- 70-79=C
- 63-69=D
- 62 and below = F.
- The use of + and – will occur accordingly.
Attendance is required and expected. Unexcused absences in excess of two will result in the reduction of the attendance portion of the grade. Acceptable excuses are a personal illness, a death in the family, or a university-sponsored trip. More than 5 unexcused absences will result in an automatic F in the course.
Reference Texts/Articles:
- Samuel Adler, Orchestration
- Alfred Blatter, Instrumentation/Orchestration
- Leon Dallin, Techniques of Twentieth Century Composition
- Kent Kennan, The Technique of Orchestration
- Stefan Kostka, Materials and Techniques of 20th Century Music
- Paul Sturman, Advanced Harmony Melody Composition
- Leonard Bernstein, The Infinite Variety of Music
- Wallace Berry, Structural Functions in Music
- Aaron Copland, Music and Imagination
- Helen Epstein, Music Talks
A student responsible for scholastic dishonesty may be assigned an automatic grade of an “F” for the course. Students may certainly work together on homework assignments. However, copying assignments is unacceptable and may require action according to the CWU guidelines. Central Washington University maintains a strong stance on academic dishonesty: “If you engage in academic dishonesty related to this class, you will receive a failing grade on the test or assignment, and a failing grade in the course. In addition, the case will be referred to the Dean of Students for appropriate disciplinary action.”
Spring 2009
WEEKLY TOPIC/ASSIGNMENT LIST:
Week 1 March 31 – April 3
Topics: Overview, Eras/Composers, Melodic Development
- Wednesday:
Course Overview
Introduction to eras and composers
- Friday:
Due: Homework/Listening #1
Melodic Development
Handout: BB: Melodic Development
Homework: HW/L #2
Week 2 April 6 - 10
Topic: Style in melody writing
- Monday:
Due: Homework/Listening #2
Handout 1 & 2: BB: Style in Melody Writing- Med.to Baroque
Homework: HW/L #3
- Wednesday:
Due: Homework/Listening #3
Handout: BB: Style in Melody Writing – Classical/Romantic
Homework: HW/L #4
- Friday:
Due: Homework/Listening #4
Copying Beethoven
Homework: HW/L #5
Week 3 April 13 - 17
Topic: Styles in Writing for Piano - Harmony
- Monday:
Due:
Homework/Listening #5
Piano Styles
Copying Beethoven
Homework: Composition Project #1 (Accompaniment Styles)
- Wednesday:
Piano Styles
Copying Beethoven
Homework: Composition Project #1 (Accompaniment Styles)
- Friday:
Due: Composition Project #1 (Accompaniment Styles)
Suspensions and Pedal Points
Copying Beethoven
Homework: HW/L #6
Week 4 April 20 – 24
Topic: Variation Techniques/Invertible Counterpoint
- Monday:
Due: Homework/Listening #6
Variation Techniques
Homework: Composition Project #2 (Variations)
- Wednesday:
Variation Techniques
Homework: Finish Composition Project #2 (Variations)
- Friday:
Due: Composition Project #2 (Variations)
Invertible Counterpoint
Homework: HW/L #7
Week 5 April 27 – May 1
Topic: Invertible Counterpoint/2-part Inventions
- Monday:
Due: Homework/Listening #7
Invertible Counterpoint
2-part Inventions
Homework: HW/L #8
- Wednesday:
Due: Homework/Listening #8
2-part Inventions
Homework: Review for Terminology/Listening Quiz
- Friday:
No Class
Week 6 May 4 – 8
Topic: Texts/Form/Writing for Piano
- Monday:
Midterm Terminology/Listening Quiz
- 2-part Inventions
- Homework: Composition Project #3 (2-part Invention)
- Wednesday:
Work Day: Individual Help With Inventions
Homework: Finish Composition Project #3 (2-part Invention)
- Friday:
Due: Composition Project #3 (2-part Invention)
Words and Music – Setting Texts
Week 7 May 11 – 15
Topic: Form/Writing for Piano/Modulations
- Monday:
Due: Homework/Listening #8
- Words and Music – Setting Texts w/ accompaniments
Homework: Composition Project #4 (Text Setting)
- Wednesday:
Forms & Composers – 16th Century
Homework: Finish Composition Project #4 (Text Setting)
- Friday:
Forms & Composers – Baroque
Due: Composition Project #4 (Text Setting)
Week 8 May 18 – 22
Topic: Form/Writing for Piano/Modulations
- Monday:
Forms & Composers – Classical
Discuss Final Projects & Presentations
Homework: HW/L #9
- Wednesday:
Due: Homework/Listening #9
Forms & Composers – Romantic
Homework: HW/L #10
- Friday:
Due: Homework/Listening #10
Forms & Composers – 20th/21st Century
Homework: Start Final Projects
Prepare Composer Presentations
Week 9 May 25 – 29
Topic: Composer Presentations
- Monday: Memorial Day - No Class
- Wednesday: Composer Presentations (4)
- Friday: Composer Presentations (4)
Week 10 June 1 – 5
Topic: Composer Presentations - Review
- Monday: Composer Presentations (3)
- Wednesday:
Due: Final Composition Project
- Friday: Final Terminology/Listening Quiz
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