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Course Criteria
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2.00 Credits
An introduction to the composition, techniques and theory of electro-acoustic music. Participants will gain a technical understanding of the tools available to the electronic composer including digital audio recording, signal processing, synthesis and MIDI and will work hands-on in the electronic music studio to realize composition projects. Emphasis will be placed on learning to arrange and transform sonic materials in such a way as to result in structurally coherent electronic compositions. Considerations arising from the limitlessness of the medium will be discussed and a historical context will be provided. (2 credits) Mallia
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2.00 Credits
Techniques explored in Electro-Acoustic Music I will be extended through an investigation of live applications of electronic music. Special emphasis will be placed on the combination of acoustic instruments and digital sound using realtime computer music systems. Students will learn to facilitate gestural communication between performer and machine through the creation and control of interactive listening/response environments. A concert of works composed by students of the class will take place during the semester. (2 credits) Mallia
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2.00 Credits
This project-based course will introduce students to concepts, compositional strategies, and technologies associated with the combination of music, sound and image in Film. Stylistically diverse music by a variety of composers, taken from both historical and contemporary films, will be examined for its role in controlling the depth and speed of the viewer/listener's awareness of shifts in the underlying narrative thread and changes in the psychological make-up of characters. Students will receive regular critiques of composition projects requiring them to apply demonstrated concepts and techniques relating to, other collaborative multimedia settings including video, web-based art, performance, dance and immersive installation environments will also be studied. Sound/image timing and synchronization techniques, digital sound manipulation, MIDI instrumental mock-ups and synthesis will be demonstrated, practiced and utilized in scene-scoring and multimedia projects suitable for a composer's portfolio. (Open to Composition and Jazz Composition Majors. Others, by instructor's permission.) (2 credits) Mallia
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0.00 Credits
See Undergraduate Composition program of study. (0 credit)
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2.00 Credits
The study of tonality in Western classical music through analysis and writing of binary, ternary, sonata-allegro, rondo, and variation forms based on models from the Baroque, Classical, and early Romantic periods. (2 credits) Peyton
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3.00 Credits
Continuation of CMP 515. Prerequisite: CMP 515. (2 credits) Peyton
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2.00 Credits
The study of "tonality" in modern times: the return to modality, the use ofhybrid and compound scale, the principle of displacement and cross-relations. Compositions in the style of Debussy, Stravinsky, Bartók, and other 20th-century masters. (2 credits) Peyton
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3.00 Credits
Explores the styles of Prokofiev, Hindemith, Ives, Copland, Carter, Ligeti, Gubaidulina. Dictation and ear training. Composition of several short pieces in differing styles. Continuation of CMP 517. Prerequisite: CMP 517. (2 credits) Peyton
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2.00 Credits
Graduate offering of CMP 418T. (2 credits) Gandolfi
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2.00 Credits
Graduate offering of CMP 443T. Instructor's permission required for non-majors. (2 credits) Mallia
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