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Higher Education
Faculty of Arts, Education and Human Development
School of Communication, Culture and Languages
Campus Sunbury
Prerequisite(s) UMC2051 Composition 2.
Content This unit of study aims to provide students with the opportunity to express creative ideas within a musical language and to provide a forum where students can develop their creative decision making processes. A broad range of compositional techniques will be surveyed. Topics include: advanced techniques and approaches to composition in a contemporary context, including tonal, non-tonal, microtonal and spectral approaches from western and non-western traditions; approaches to structure; acoustic, spatial and electro-acoustic considerations in composition; composing for large ensembles; advanced techniques and approaches to applied composition in film, dance, theatre or other multimedia applications.
Learning Outcomes On successful completion of this unit, students are expected to be able to:Expand the range and use of compositional tools;Foster the development of a personal compositional voice;Develop creative decision-making processes;Compose works in a variety of styles;Compose a short work for a large ensemble.
Required Reading Blatter, A 1985, Instrumentation/ orchestration, 2nd edn, Schirmer, New York. Benjamin, T 2003, The craft of tonal counterpoint, 2nd edn, Routledge, New York.
Cope, D 1997, Techniques of the contemporary composer, Schirmer-Thomson Learning, New York. Karlin, F & Wright, R, On the track: a guide to contemporary film scoring, Schirmer Books, New York, 1990. Salzer, F & Schachter, C 1989, Counterpoint in composition, Columbia University Press, New York. Truax, B 2001, Acoustic communication, 2nd edn, Ablex, Westport, CT.
Wuorinen, C 1994, Simple composition, CF Peters, New York.
Recommended Reading Aldwell, E & Schachter, C 1989, Harmony and voice leading, 2nd edn, Fort Worth, Harcourt Brace Jovanovich, Texas. Burrows, D 1990, Sound, speech and music, University of Massachusetts Press, Amherst, MA. Chion, M 1994, Audio vision, [Translated and edited by Claudia Gorbman], Columbia University Press, New York. Computer Music Journal, MIT Press, Cambridge, Massachusetts. Contemporary Music Review, Routledge (Taylor & Francis Group), Abingdon, Oxfordshire. Cook, N 1998, Analysing musical multimedia, Oxford University Press, Oxford. Dallin, L 1975, Techniques of twentieth century composition, WCB/McGraw-Hill, Boston, Mass. Davison, A 2004, Hollywood theory, non-Hollywood practice, Ashgate, Aldershot. Gorbman, C 1987, Unheard melodies: narrative film music, BFI Pub, Indiana University Press, Bloomington, London. Lerdahl, F 2004, Tonal pitch space, Oxford University Press, Oxford. Mertons, W 1983, American minimal music, Kahn & Averill, London. Organised Sound: an International Journal of Music Technology, Cambridge University Press, Cambridge. Parncutt, R 1989, Harmony: a psychoacoustical approach, Springer-Verlag, Berlin. Rahn, J 1980, Basic atonal theory, Schirmer Books, New York. Read, G 1979, Music notation: a manual for modern practice, Schirmer, New York. Shepherd, A 2003, Pro-tools for video, Film and Multimedia, Muska and Lipman, Boston, Mass. Schoenberg, A 1964, Preliminary exercises in counterpoint, St Martin's Press, New York. Wishart, T 1994, Audible design, Orpheus the Pantomine Ltd, London. Deliege, I & Wiggins, G 2006, Musical creativity: current research in theory and practice, Psychology Press, London, UK.
Class Contact Two hours per week for one semester comprising lectures and tutorials.
Assessment Written composition exercises 30%; Workshop attendance and exercises 10%; Folio of pieces, including recorded realisations 60%.
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