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  • CM 312: Contemporary Techniques in Composition

    2.00 Credits
    Berklee College of Music

    Credits:2 credits Prerequisites:CM-311 and COND-211 Course Chair:G. Fritze Required of:COMP majors Electable by:All Offered:Spring, Summer, Fall Description The continuation of CM-311 with concentration on the employment of serial approaches to composition. Various composition assignments and a final project are required.
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  • CM 318: New Music Composition and Performance Workshop

    2.00 Credits
    Berklee College of Music

    Credits:2 credits Prerequisites:ET-111 and HR-111 Course Chair:G. Fritze Required of:None Electable by:All Offered:Spring Description The workshop provides opportunities for student composers to hear performances of their own work, and for student performers to gain public performing experience of original student works and works written within the last 60 years. Important works of the twentieth century are explored. It is advisable, but not required, for students to have taken LHAN-261 prior to enrolling in this course. This course can be repeated for credit.
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  • CM 345: Jazz Fusion Composition and Arranging for Small Ensemble

    2.00 Credits
    Berklee College of Music

    Credits: 2 credits Prerequisites: HR-212 Course Chair: K. Pullig Required of: None Electable by: All Offered: Spring, Fall Description Through the study of major artists and recordings, the student will identify the compositional and instrumental practices of the jazz-fusion idiom and apply those to writing assignments and projects. Jazz-fusion is looked at broadly and may include a variety of idiomatic 20th century, world music, and popular music techniques. The course does not follow a particular methodology, but rather encourages the student to find his/her own voice within the genre. The class begins with a historical survey of the jazz-fusion idiom starting with Miles Davis' landmark, Bitches Brew recording, and continues with the music of the alumni of Davis' influential bands, up to today. As students apply techniques and ideas learned, they will gain perspective as to how jazz-fusion is part of music as a whole, and examine some of the underlying principles that makes for good composition.
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  • CM 351: Choral Composition

    2.00 Credits
    Berklee College of Music

    Credits: 2 credits Prerequisites: CM-212 Course Chair: G. Fritze Required of: None Electable by: All Offered: Spring, Fall Description Traditional scoring techniques for full chorus with and without instrumental accompaniment. A choral composition in a traditional style is required as a final project.
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  • CM 355: Principles and Techniques of Writing for the Voice

    2.00 Credits
    Berklee College of Music

    Credits: 2 credits Prerequisites: CM-212 and CP-212 Course Chair: G. Fritze Required of: None Electable by: All Offered: Spring, Summer, Fall Description Examination of representative solo vocal works from the nineteenth and twentieth centuries (including works requiring nontraditional vocal techniques), with emphasis on dramatic organization, relationship of music to text, and appropriateness to the capacity of the trained singing voice. Special attention given to principles of vocal technique and speech articulation as they apply to composition, principles of vocal notation, and considerations of opera and musical theater. Students will be expected to write specified vocal passages based on assigned texts as well as participate in some improvisation and dramatic reading of texts in class.
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  • CM 361: World Music Resources in Composition

    2.00 Credits
    Berklee College of Music

    Credits: 2 credits Prerequisites: AR-111, HR-211, and one of the following: CM-311, ILPH-351, ILPH-357, LHAN-345, LHAN-346, or PSW-351 Course Chair: G. Fritze Required of: None Electable by: All Offered: Spring, Fall Description Approaches to composition using ideas and aesthetic principles from a variety of non-Western musical traditions. Explorations of diverse concepts of rhythm, melody, timbre, and form as heard in the music of Africa, Asia, India, and South America. Assignments will include a substantial composition illustrating these principles
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  • CM 371: Jazz Composition I

    2.00 Credits
    Berklee College of Music

    Credits: 2 credits Prerequisites: AR-201 Course Chair: K. Pullig Required of: JCMP majors Electable by: All Offered: Spring, Summer, Fall Description A systematic approach to the art of composing in the jazz idiom. Exploration of melodic, harmonic, and rhythmic principles. Standard jazz song form. Analysis of jazz standards. Arranging considerations applied as a means of enhancing a composition. Projects for small jazz group required.
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  • CM 373: Jazz Composition

    2.00 Credits
    Berklee College of Music

    Credits:2 credits Prerequisites:CM-371 Course Chair:K. Pullig Required of:JCMP majors Electable by:All Offered:Spring, Summer, Fall Description Composition of non-song-form jazz pieces based on motivic development. Discussion of form and content as it applies to episodic composition in jazz. Examination of representative works by various jazz composers. Various assignments and the composition of an episodic five-minute piece are required.
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  • CM 375: Jazz Composition

    3.00 Credits
    Berklee College of Music

    Credits:2 credits Prerequisites:AR-331 and CM-373 Course Chair:K. Pullig Required of:JCMP majors Electable by:All Offered:Spring, Summer, Fall Description Composition of multisection extended jazz compositions. Discussion of form and orchestration as it applies to extended composition in jazz. Examination of representative works by various jazz composers. Composition of a short chamber piece without rhythm section and a large-scale 10-minute piece is required.
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  • CM 385: Postbebop Harmonic Innovations

    2.00 Credits
    Berklee College of Music

    Credits: 2 credits Prerequisites: HR-325 Course Chair: K. Pullig Required of: None Electable by: All Offered: Spring, Fall Description Survey and analysis of music growing out of the bebop jazz era. Extensive study of John Coltrane, Miles Davis, Wayne Shorter, and Thelonious Monk. Discussion of blues forms and modal harmony used in the 1960s. Application of concepts through composition of original music.
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