Composition Workshop

Learning Outcomes

Subject Specific Intellectual and Research Skills

Having successfully completed this module you will be able to:

• compose a medium-scale work for ensemble
• use music notation effectively and creatively to communicate and engender interpretive potentialities for your ideas
• implement advanced technical devices and formal procedures in your own composition

Knowledge and Understanding

Having successfully completed this module, you will be able to demonstrate knowledge and understanding of:

• aesthetic issues relating to composing music today
• key technical devices and formal procedures, including of how to negotiate medium scale form
• instrumental/vocal composition/orchestration methodologies, including contemporary and extended techniques

Transferable and Generic Skills

Having successfully completed this module you will be able to:

• present scores and instrumental/vocal parts clearly with attention to detail and with knowledge of professional practice

A series of topics will be presented over the semester with each exploring compositional approaches. These may include: - Approaches to musical form including historical models (ternary form, variation form, etc.) and contemporary approaches (collage - Creating and working with musical materials - Polymetre - Metric modulation - Extended tonality and modalities (including non-octavating modes) - Rhythmic Complexities and Processes - Systems (12-tone technique, spectralism) - Sonification - Writing for (body) percussion - Writing for chamber ensemble - Preparation of score and parts - Approaches for working and interacting with musicians - Approaches to musical form including historical models (ternary form, variation form, etc.) and contemporary approaches (collage, modular structures) - Metric and rhythmic approaches and techniques (e.g., polymetre, metric modulation, hemiola). - Extended tonality and modalities (e.g., polytonality, non-octavating modes, use of microtones). - Systematic approaches (e.g., serialism, spectralism, process music) - Instrumental writing, including extended techniques and theatrical aspects. - Approaches to texture (e.g., heterophony, layered music, call and response). - Preparation of score and parts - Approaches for working and interacting with musicians - Aesthetic issues (e.g., programme music, political music, models of time). Examples of specific pieces that may be studied include: - Django Bates, 'New York New York' - Bjork, 'Features Creatures' - György Ligeti, 'Chamber Concerto' - Sky Macklay, 'Many Many Cadences' - Charles Ives, 'The Unanswered Question' - Olivier Messiaen, 'Quartet for the End of Time' - Joni Mitchell, 'Song to a Seagull' - Schoenberg - Suite für Klavier, Op. 25 - Anna Meredith, 'Hands Free' - Xenakis – ‘Rebonds’ - Simon Steen Andersen, 'String Study No. 1' - Igor Stravinsky, 'Petrushka' - Edgar Varese, 'Ionisation' - Stockhausen. 'Kreuzspiel' - Colon Nancarrow, 'Studies for Player Piano' - Jennifer Walshe , 'Becher' - George Antheil – Piano Sonatas - Julia Wolfe – ‘Reeling’ - Alex Paxton – ‘Music for Bosch People’ - Underworld, ‘Cups’ - Azzido Da Bass, ‘Dooms Night’ - Courtney Barnett, ‘Avant Gardener’ - Antonín Dvořák, Scherzo from Symphony 7

Teaching methods include: - Lectures - Group tutorials - Professional Workshops Learning activities include: - Individual study - Between session listening/analysis tasks - Tutorials - Library-based research - Online based research - Workshops

Formative

This is how we’ll give you feedback as you are learning. It is not a formal test or exam.

Assessment

• Assessment Type: Formative
• Feedback: Verbal feedback in group tutorial context
• Final Assessment: No
• Group Work: No

Summative

This is how we’ll formally assess what you have learned in this module.

Referral

This is how we’ll assess you if you don’t meet the criteria to pass this module.

Repeat

An internal repeat is where you take all of your modules again, including any you passed. An external repeat is where you only re-take the modules you failed.