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Outline for an Introductory Course in Composition
Peter Lucas Hulen
Description
For beginning composers, this course offers opportunities to explore
the meaning and value of music composition, some of the basic materials
with which a composer works, and some of the ways these materials are
developed and applied in the creation of compositions. Beginning
students create compositions as assigned. Certain materials and
procedures are prescribed so they are free to focus on certain issues
of craft within a given assignment. Instrumentation is also indicated
according to overall available performance capabilities. Students in a
class or large studio meet to perform their compositions and receive
performer, peer and instructor feedback. Students who already have a
grasp of basic materials and development work independently, receive
individual feedback and are encouraged to pursue local opportunities
for performance.
Objectives
to
cultivate thinking about
the meaning and value of composition
to develop craft
in working
with the basic materials of music
to liberate
students from
common-practice
functional harmony only
to expand the
palette of
avaliable
materials and procedures
to deepen
perception and
appreciation
of new sounds and combinations
to exercise
performance in the
creation and realization of music
to increase
student ability
to critique and discuss music collegially
Assignments
Preliminary
Survey:
define music, rank what
compositions should address, explain why
Purpose:
begin addressing meaning
and value in composition
One
Study:
elements of music, motivic
development, melodic analysis
Compose:
1-measure motive developed
into a 12-measure melody
Compose:
24-measure melody with
attention to melodic contour
Purpose:
develop craft in the
element of melody
Two
Study:
modal characteristics,
modal harmonization, dominant substitutes
Compose:
harmonization &
piano accompaniment for a given Phrygian melody
Purpose:
develop craft in harmony,
rhythm, figuration and variance
Purpose:
work outside common-practice,
maintaining similar challenges
Three
Study:
quartal harmony, combined
tertian/quartal harmony, a "synthetic" scale
Compose:
harmonic set for Super-Locrian
scale
Compose:
harmonization &
piano accompaniment for Super-Locrian melody
Purpose:
develop craft in harmony,
rhythm, figuration and variance
Purpose:
work outside common-practice,
expanding familiar challenges
Four
Study:
harmonization of another
"synthetic" scale, generative harmony
Compose:
SATB chorale-style
harmonization of Neapolitan Minor melody
Purpose:
learn principles of
the creation of harmonic procedure
Purpose:
continue to expand
beyond challenges of common practice
Five
Study:
yet
another "synthetic"
scale
Compose:
harmonic set for Overtone
scale
Compose:
harmonization and piano
accompaniment for Overtone melody
Purpose:
develop subtlety in
the creation of harmonic procedure
Purpose:
practice applying newly-acquired
materials and procedures
Purpose:
develop craft in harmony,
rhythm, figuration and variance
Six
Study:
secundal harmony, harmonization
and voice leading
Compose:
secundal harmony &
piano accompaniment for Phrygian melody
Purpose:
develop craft in control
of dissonance, and voice leading
Purpose:
work with materials
apart from functional diatonic harmony
Purpose:
develop craft in rhythm,
figuration and variance
Seven
Study:
16
"synthetic" scales,
plus imitative procedures
Compose:
3-part imitative instrumental
setting of Eight-Tone "Spanish" melody
Purpose:
develop craft in counterpoint,
timbre, texture instrumentation
Purpose:
review basics of melody,
develop craft in control of tension
Purpose:
expand palette of diatonic
sets
Purpose:
work independently
of common-practice tonality
Eight
Study:
an
atonal harmonic progression
and its voice leading
Compose:
a
melody derived from
an existing atonal harmonic progression
Compose:
a
piece for instrumental
trio & piano applying these materials
Purpose:
deepen perception of
relative dissonance in atonality
Purpose:
develop craft in melodic
construction and textural perception
Purpose:
develop craft in rhythm,
figuration and variance
Purpose:
continue working independently
of common-practice tonality
Nine
Study:
12-tone serial melody,
serial harmony; P, I, R, RI; matrix of the row
Compose:
a
piece for solo instrument
& piano based on a given matrix
Purpose:
introduce or review
basic 12-tone serial procedures
Purpose:
develop craft in serial
procedures
Purpose:
develop craft in
overall basic materials of music
Peter Lucas Hulen is Byron K. Trippet
Assistant Professor of Music at Wabash College in Crawfordsville,
Indiana,
USA.
© 2005 Peter Hulen
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