COURSE UNIT TITLE

: ACOUSTIC COMPOSITION FOR NON-COMPOSITION-MAJORS 1

Description of Individual Course Units

Course Unit Code Course Unit Title Type Of Course D U L ECTS
KNS 3049 ACOUSTIC COMPOSITION FOR NON-COMPOSITION-MAJORS 1 ELECTIVE 3 0 0 3

Offered By

Composition

Level of Course Unit

First Cycle Programmes (Bachelor's Degree)

Course Coordinator

ASSOCIATE PROFESSOR ONUR NURCAN

Offered to

Piano
Percussion Instruments
Flute
Horn
Trombone
Guitar
Cello
Viola
Harp
Bassoon
Trumpet
Tuba
State Conservatory
Violin
Clarinet
Oboe
Contrabass

Course Objective

This is an introduction to acoustic composition for conservatory students who are not composition majors. Students will learn to think about different musical elements from a compositional perspective, and will learn to notate their ideas and have the results performed by the class ensemble.

Learning Outcomes of the Course Unit

1   Students will develop an understanding of the nature of composition in relation to their principal fields of study.
2   Students will gain a broad understanding of the components of musical textures.
3   Students will learn a broad range of contemporary compositional styles.
4   Students will be able to conceive of original compositional material.
5   Students will learn to notate and communicate their ideas to performers.
6   Students will gain an understanding of what it means to communicate as a composer to other musicians.

Mode of Delivery

Face -to- Face

Prerequisites and Co-requisites

None

Recomended Optional Programme Components

None

Course Contents

Week Subject Description
1 What is composition De-mystifying the role of composer. In-class vocal improvisation.
2 Text compositions and structured improvisations.
3 Texture. Listening: Penderecki and Ligeti
4 Clusters, stacked intervals. Listening: Cowell and Berio
5 Dynamics and contrast. Listening: Beethoven, Gorecki
6 Minimalism. Listening: Glass, Riley, Ince
7 Maximalism. Listening: Andrew Norman
8 In-class performances.
9 Graphic notation.
10 Serial and pitch-centric techniques. Listening: Schoenberg
11 Present opening gesture of the final composition and analyze its implications in class.
12 Introduction to structural musical functions.
13 Present first half of final project in class.
14 Present complete final projects in class. Critique and revise.
15 Final Performance/presentation of revised projects.

Recomended or Required Reading

Cope, David, Techniques of the Contemporary Composer, Cengage Learning, 1997
Jarrett, Jack, Musical Composition: A Guide for Young Composers, Xlibris, 2015
Russo, William, Composing Music: a New Approach, Prentice Hall Trade, 1983

Planned Learning Activities and Teaching Methods

Lectures will consist of listening and analysis of scores, as well as examinations and trials of different compositional techniques.

Assignments will consist of small composition projects written for the class ensemble, as well as one larger final composition project.


Assessment Methods

Successful / Unsuccessful


Further Notes About Assessment Methods

None

Assessment Criteria

The assignments will be evaluated on the basis of timeliness, creativity, adherence to the assignment's parameters, and on clarity of notation.

The project will also be evaluated on the basis of timeliness, creativity, adherence to the assignment's parameters, and on clarity of notation.

Language of Instruction

Turkish

Course Policies and Rules

70% attendance is mandatory.

Contact Details for the Lecturer(s)

Pieter Snapper
psnapper@gmail.com


Office Hours

To be announced.

Work Placement(s)

None

Workload Calculation

Activities Number Time (hours) Total Work Load (hours)
Lectures 14 3 42
Preparations before/after weekly lectures 14 1 14
Preparing assignments 14 1 14
Design Project 1 15 15
TOTAL WORKLOAD (hours) 85

Contribution of Learning Outcomes to Programme Outcomes

PO/LOPO.1PO.2PO.3PO.4PO.5PO.6PO.7PO.8PO.9PO.10PO.11PO.12PO.13PO.14PO.15
LO.1312211
LO.222211
LO.3232311
LO.4212312
LO.52123232
LO.6312231