Composition, Arranging, and Sound Design 3 builds on the theory and aural skills developed in the co-requisite course Music Theory and Aural Skills 3 to develop basic compositional skills using combinations of four independent voices (i.e. linear instrumental or vocal parts). Students will develop a portfolio of compositions that will include a Commission Project for one of the School’s ensembles in addition to works in one or more genres of the student’s choice (for example, electronic or film music). Teaching and learning activities will include a weekly composers’ seminar in which composition students from all levels will discuss current work and wider compositional issues and an orchestration seminar.
Upon successful completion, students will have the knowledge and skills to:Upon successful completion of this course, students will have the knowledge and skills to:
- Understand compositional and orchestration techniques involved in writing for four independent voices (i.e. linear instrumental or vocal parts);
- Analyse compositions using four independent voices;
- Create original compositions for four independent voices; and
- Communicate key decisions taken during the creative process through an exegesis.
Indicative Assessment2 group tutorial presentations –first is 5 minutes, 5%; and second is 10 minutes, 10% (total 15%) [LO 1]
3 Analysis/Orchestration assignments, 5% each, maximum 32 bars each (total 15%) [LO 1, 2]
Portfolio of works totalling 14 minutes in duration, 20% folio, 10% exegesis of 500 words (total 30%) [LO 3,4]
Commission Project of 6 minutes, for chamber music ensemble (set instrumentation provided), 30% score/recording, 10% exegesis of 500 words (total 40%). To reflect the real-world environment of commissions, late submissions will not be accepted, and will receive a mark of 0 [LO 3,4]
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WorkloadOne 1.5-hour lecture/tutorial, one 1-hour orchestration seminar and one 1.5 hour composers’ seminar bringing together all of the School’s composition students, and 6 hours private study per week that includes access to one-on-one tuition, masterclasses, or conferences through a Creative Practice Development Allowance.
Requisite and Incompatibility
Adler, Samuel. The Study of Orchestration. 3rd ed. New York: W.W. Norton, 2002.
Baker, David, Arranging & Composing for the small ensemble: jazz/r&b/jazz-rock. Bloomington, Indiana: Frangipani Press, 1985.
Brant, Henry. Textures and Timbres: An Orchestrator’s Handbook. New York: Carl Fischer Music, 2009.
Burkhart, Charles. Anthology for Musical Analysis. 7th ed. New York: Schirmer, 2011.
Cassella, Alfredo and Virgilio Mortari. The Technique of Contemporary Orchestration. 2nd ed. Milan: Ricordi, 2004.
Dobbins, Bill. Jazz Arranging and Composing: A Linear Approach. Rottenburg. Germany: Advance Music, 1986.
Gould, Elaine. Behind Bars: The Definitive Guide to Music Notation. London: Faber and Faber, 2011.
LaRue, Jan. Guidelines for Style Analysis. 2nd ed. Sterling Heights, Michigan: Harmonie Park Press, 2011.
Schoenberg, Arnold. Fundamentals of Musical Composition. New. ed. London: Faber and Faber, 1967.
Wright, Rayburn. Inside the Score. Delevan, New York: Kendor Music, 1982.
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|Class number||Class start date||Last day to enrol||Census date||Class end date||Mode Of Delivery||Class Summary|
|4763||15 Feb 2016||26 Feb 2016||31 Mar 2016||27 May 2016||In Person||N/A|