代做MU1629a 2024-2025 INTRODUCTION to COMPOSITION Fall Term代做Python程序

日期：2024-12-02 06:26

DEPARTMENT of MUSIC RESEARCH and COMPOSITION

MU1629a 2024-2025

INTRODUCTION to COMPOSITION

Fall Term

Course Prerequisites: None, but restricted to students enrolled in the Don Wright Faculty of Music.

Please note that prerequisites are no longer automatically checked prior to course registration. It is the responsibility of each student to ensure that they have the specified prerequisites. Unless you either have the requisites for this course or special permission from the Dean to enroll in it, you will be removed from the course and it will be deleted from your record. This decision may not be appealed. You will receive no adjustment to your fees in the event that you are dropped from a course for failing to have the necessary prerequisites.

Course Description: Introduction to the elementary components of compositional technique involving pitch and contrapuntal relationships, harmonic interactions, rhythmic properties, texture, timbre, architecture and basics of orchestration. Topic discussions will involve a survey of musical examples  drawn  from  the  20th  and  21st    century  literature,  as  well  as  modern  texts  on compositional, contrapuntal and harmonic technique and their manipulation.

Course Outcomes: Students can expect to gain the understanding of basic compositional concepts and become acquainted with the elements of an individual musical language. Students will be introduced to the appropriate compositional vocabulary and become familiar with the skills and abilities of describing musical material. They will learn to manage compositional tools and apply them to the creation of their own short-scale compositions and learn how to notate their music and organize musical matter.

Assignments: Assignments are due at the beginning of class on the assigned due date. Late assignments will be accepted up to one week past the deadline with a 5% penalty each day. Assignments will not be accepted one week past the deadline. This policy will be strictly enforced. Only medical emergencies will be considered as a valid excuse.

Academic Offences: Any infraction on academic honesty and plagiarism will not be tolerated. With the ubiquitous use of AI and ChatGPT, the course instructor will be on the lookout for any work completed by students through the use of dishonest means. The objective of this course is to help students develop their own artistic voice, language and vocabulary – skills only obtainable through hard work and academic integrity. Suspected plagiarism and/or use of virtual assistance will be immediately flagged and forwarded to the appropriate academic integrity committee.

Submission of work with which you have received help from someone else (other than the course instructor or TA) is an example of plagiarism, which is considered a major academic offence. Scholastic offences are taken seriously and students are directed to read the appropriate policy, specifically,   the    definition    of   what    constitutes   a    Scholastic    Offence,    as   found    at:

http://www.uwo.ca/univsec/pdf/academic_policies/appeals/scholastic_discipline_undergrad.pdf

Required Course Materials:

•   A minimum of 12-stave high-grade manuscript paper.

•   Pencils.

•   Erasers.

•   Binder to collect handouts and course materials.

•   Access to digital notation software. Professional software such as Sibelius or Dorico is recommended, but the use of free online tools such as MuseScore and NoteFlight will be acceptable.

•   A method of taking a scan of your work to upload to the instructor (Genius Scan is an excellent free app).

•   A method of viewing online instruction and joining Zoom meetings.

Although assignments may be submitted in PDF format, some will be accepted in hand-written form. only.

Recommended Reference Texts:

•   Notation  and  Rudiments:  Barbara  Wharram, Elementary Rudiments  of Music,  Second Edition, The Frederick Harris Music Co., Limited.

•    Orchestration:  Samuel  Adler,  The  Study  of  Orchestration,  Third  Edition,  New  York: Norton. ISBN 039397572X.

•    Literature: J. Peter Burkholder & Claude V. Palisca, Norton Anthology of Western Music, Volume 2: Classic to Twentieth Century, New York, W. W. Norton & Co. ISBN 0-393- 92562-5 (pbk.).

•    Composition:   Arnold   Schoenberg    (edited   by   Gerald    Strang   &   Leonard    Stein), Fundamentals of Musical Composition, Belmont Music Publishers.

Toby Young, ed, The Cambridge Companion to Composition, Cambridge: Cambridge University Press. ISBN9781108831697.

Olivier Messiaen, The Technique of My Musical Language, Alphonse Leduc, Éditions Musicales. ISBN 2-85689-058-X.

Evaluation: Evaluation of assignments will be based upon the following criteria:

•   Coherency: how well the students expresses their musical ideas and organizes material. This  can  include  but  no  be  limited  to  pitch  material,  harmony,  rhythm,  texture  & counterpoint.

•   Notation: how clearly the student expresses their ideas through the use of notation.

•   Orchestration: how well the student is able to use orchestration tools when writing for individual instruments and ensemble.

•   Vocabulary: how well the student understood and implemented course material.

Grading Scale: A+=90-100%, A=80-89%, B=70-79%, C=60-69%, D=50-59%, F=0-49%.

•   A+: One could scarcely expect better from a student at this level.

•   A: Superior work which is clearly above average.

•   B: Good work, meeting all requirements, and eminently satisfactory.

•   C: Competent work, meeting requirements.

•   D: Fair work, minimally acceptable.

•   F: Fail.

Grade Distribution:

Assignments:

o Assignment 1: Rudiments exercises and hand-writing (5%), due September 16th.

o Assignment 2: Creation of Musical Ideas (10%), due September 23rd.

o Assignment 3: Enhancing Musical Patterns and the Practical Application of Musical Ideas and First Composition Creation (15%), due October 11th.

o Assignment 4: Testing Public Speaking Skills and Oral Coherency – Group Presentations (10%), November 4&6.

o Assignment 5: Building Musical Vocabulary and Eloquence – a concert review paper (10%), due November 11th.

o Reading  Sessions/Presentations: Presentation of Final Composition Drafts, including score and parts – November 25&27, December 2&4 (20%).

o Final:  Second  and  Final  Composition  Creation  showcasing  skills  and  tools  learned throughout the course with publisher-ready score and detailed programme notes (30%), due December 8. Please note it is a course requirement that the final assignment is performed in class. You may choose to participate in the performance yourself, ask your classmates or find players within the school.

Examinations & Attendance: Any student who, in the opinion of the instructor, is absent too frequently from class or laboratory periods in any course will be reported to the Dean of the Faculty offering the course (after due warning has been given). On the recommendation of the department concerned, and with the permission of the Dean of that Faculty, the student will be debarred from taking the regular examination in the course. The Dean of the Faculty offering the course will communicate that decision to the Dean of the Faculty of registration.

Compulsory First Year Exam Exemption: The Dean's office has granted this course an exemption from the Senate policy that requires each first-year course (1000-1999) to administer a common, compulsory, final examination scheduled during the examination period worth not less than 30% of the final grade.

MUSIC 1629A: Introduction to Composition Timetable:

Week of September 9

o Notation.

o Intervals.

o Chords.

o Scales.

o Time.

o Reference texts include Barbara Wharram, Elementary Rudiments of Music, Second Edition, The Frederick Harris Music Co., Limited: Chapters 1-5 & 7.

Assignment 1 distributed on September 9.

Week of September 16

Assignment 1 collected on September 16.

o The birth of musical idea. Reference scores include, but not limited to G. Ligeti (1923- 2006): Musica Ricercata; S. Reich (b. 1936): Piano Phase; P. Glass (b. 1937): Music in Fifths; M. Monk (b. 1942): Change. A. R. Thomas (b. 1964): Traces. D. Rakowski (b. 1958): Blue Horizon. A. Pärt (b. 1935): Pari intervallo.

o Reference texts include Arnold Schoenberg (edited by Gerald Strang & Leonard Stein), Fundamentals of Musical Composition, Belmont Music Publishers: Chapters I-VIII. Philip Lasser, An Inquiry into the Contrapuntal Fabric of Music,  Volume I, Rassel Editions:  Part  I.  Toby  Young,   ed,   The  Cambridge  Companion  to  Composition, Cambridge: Cambridge University Press: Part I, Creative Processes.

Assignment 2 distributed on September 16.

Week of September 23

Assignment 2 collected on September 23.

o Enhancing the musical pattern. Reference scores include, but not limited to A. Ginastera (1916-1983): Piano Sonata no. 1. Terry Riley (b. 1935): In C. A. R. Thomas (b. 1964): Dancing Helix Rituals. P. Boulez (1925-2016): Douze Notations. G.  Scelsi (1905-

1988): Preludi, No. XV. A. Louie (b. 1949): Small Beautiful Things.

o Reference texts include Paul Hindemith, The Craft of Musical Composition, Book 1, Fourth Edition, Schott: Chapter II. Arnold Schoenberg (edited by Gerald Strang & Leonard Stein), Fundamentals of Musical Composition, Belmont Music Publishers: Chapters IX-XII.

Assignment 3 distributed on September 25.

Week of September 30

National Day for Truth and Reconciliation. No class on September 30th  only.

o Discussion of complex instrumental combinations, instrumentation, musical nuance and vocabulary. Reference scores include, but not limited to P. Boulez (1925-2016): Dérive I.   M.   Lindberg   (b.    1958):   Piano   Trio.   P.   Glass   (b.    1937):   Piano   Quintet “Announciation”. B. Sheng (b. 1955): Clearwater Rhapsody. S. Ran (b. 1949): Glitter, Doom, Shards, Memory, String Quartet no. 3.

o Reference texts include Olivier Messiaen, The Technique of My Musical Language, Alphonse Leduc, Éditions Musicales: Chapter XIII.

Week of October 7

o Practical application of music ideas and introduction to orchestration. Reference scores include, but not limited to E. Astapov (b. 1988): Hear My  Voice. C. Debussy (1862- 1918). I. Stravinsky (1882-1971): The Rite of Spring. A. Schnittke (1934-1998): Piano Quintet & In Memoriam.

o Reference texts include Samuel Adler, The Study of Orchestration, Third Edition, New York: Norton.

Assignment 3 is due October 11 at 11:59PM by email.

Week of October 14

Fall Reading Week, NO CLASSES Week of October 21

Assignment 4 distributed (Group presentations).

o Group lessons (masterclass style) on assignment 3.

Week of October 28

o Group lessons (masterclass style) on assignment 3.

Assignment 5 distributed on October 30.

Week of November 4

o Group presentations.

Week of November 11

Assignment 5 collected on November 11.

o Modes.

o Harmony.

o Counterpoint.

o Extended techniques.

o Experimentation.

o Multimedia.

o Reference  Scores  include,  but  not  limited  to  A.  Schoenberg  (1874-1951):  Pierrot Lunaire. I. Stravinsky (1882-1971): Symphony of Psalms, mvt. I. O. Messiaen (1908- 1992): Quartet for the End of Time, mvt. I. K. Penderecki (1933-2022): Threnody to the

Victims of Hiroshima. C. Rouse (1949-2019): Gorgon. S. Gubaidulina (b. 1931): In Tempus Praesens, Concerto for Violin and Orchestra. C. Vivier (1948-1983): Orion. C. McPhee (1900-1964): Tabuh-Tabuhan.

o Reference texts include J. Peter Burkholder & Claude V. Palisca, Norton Anthology of Western Music, Volume 2: Classic to Twentieth Century, New York, W. W. Norton & Co: Chapters 141, 146, 160 & 165.

Final assignment distributed on November 11.

Week of November 18

No classes.

Week of November 25

Reading sessions.

Week of December 2

Reading sessions.

Final assignment is due electronically on December 6 at 11:59 PM. The assignment must include a publisher-ready score, a set of parts, as well as a descriptive program note.