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Course Criteria
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3.00 Credits
The fourth level in the composition sequence, this advanced course teaches students to use in their works, and understand in music literature, the compositional techniques of the 20th and 21st centuries. Students apply their knowledge in the composition of a larger work for chamber orchestra and in shorter pieces for piano. Final assignment is scored for a chamber orchestra with multiple string instruments per part. 3 CREDITS PREREQUISITES: 32-3211 COMPOSITION III
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3.00 Credits
A course in modal counterpoint from the 16th century, Counterpoint I examines the history, the ecclesiastical modes, the species in two to four parts, and the motet and the ordinary of the mass through the study of Palestrina's music. Students apply knowledge in the writing of two choral works in the style of late Renaissance. 3 CREDITS PREREQUISITES: 32-2112 SIGHTSINGING, MUSICIANSHIP, AND EAR TRAINING III, 32-2122 THEORY, HARMONY, AND ANALYSIS III
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3.00 Credits
A course in tonal counterpoint from the 18th century, Counterpoint II deals with the style and forms of baroque instrumental music through the study of the works of J. S. Bach and his contemporaries. Students apply their knowledge in the writing of suite movements, canon, invention, and fugue for piano. 3 CREDITS PREREQUISITES: 32-2112 SIGHTSINGING, MUSICIANSHIP, AND EAR TRAINING III, 32-2122 THEORY, HARMONY, AND ANALYSIS III
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3.00 Credits
This course extends and expands topics discussed in Songwriting I, and addresses additional topics for the professional songwriter. The class includes lyric, harmonic, melodic, and formal analysis, and looks at the resulting symbiosis of these elements in forming a well-crafted and coherent whole. Songwriting II addresses application of these elements to create more artful narrative approaches and their application in larger and more complex musical forms. The class also includes a more intensive workshop for discussion and development of student works in progress, as well as instruction in creating recorded song demos in the project studio environment. Aspects of publishing, royalty structures, and professional alternatives for the working songwriter are also addressed. 3 CREDITS PREREQUISITES: 32-2221 SONGWRITING I
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3.00 Credits
Course covers composition and orchestration and places special emphasis on the music of Duke Ellington. Topics include chord progressions, melody construction, miniature forms, use of the chief jazz wind instruments (trumpet, trombone, and saxophone), and score layout. Students learn to prepare parts, reduce and expand orchestral pieces, and avoid compositional short-windedness characteristic of much jazz composition. 3 CREDITS PREREQUISITES: 32-2112 SIGHTSINGING, MUSICIANSHIP, AND EAR TRAINING III, 32-2122 THEORY, HARMONY, AND ANALYSIS III, 32-2132 KEYBOARD II OR 32-2311 JAZZ KEYBOARD, 32-2211 COMPOSITION I: BASIC PINCIPLES OF TWENTIETH CENTURY COMPOSITION
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2.00 Credits
This course explores the commercial music score as a viable, accessible, and varied market for the emerging composer. The class examines techniques for scoring to picture and for understanding and meeting the communication needs of a client in a work-for-hire environment. It also attempts to deepen an appreciation of, and skill at, tapping the sensory, emotional, and cultural power of music in the marketing and communication world. This course highlights the advantages of scoring commercials, from the opportunity to refine skills in all styles of music to the challenge of meeting deadlines with original compositions created to satisfy the aesthetic needs and inclinations of a third party, all within the limited timeframe of the 30 or 60 second commercial. This course will further review the business aspect of scoring music for TV and radio. Bids, demos, agency contracts, SAG, AFTRA, and AFofM residuals and publishing will all be addressed. 2 CREDITS PREREQUISITES: 32-2221 SONGWRITING, 32-3211 COMPOSITION III
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3.00 Credits
Course introduces students to the aesthetics and technology of basic film and video scoring. Topics covered include timings, playing the drama, underscoring, orchestration, and enhancing the story through music. Assignments include the scoring of short clips and of a complete sequence as final assignment. 3 CREDITS PREREQUISITES: 32-2112 SIGHTSINGING, MUSICIANSHIP, AND EAR TRAINING III, 32-2122 THEORY, HARMONY, AND ANALYSIS III, 32-2132 KEYBOARD II OR 32-2311 JAZZ KEYBOARD, 32-3211 COMPOSITION III
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3.00 Credits
Course examines the use of the orchestra as a means to amplify and enhance musical ideas. Through the study of symphonic scores, students learn how to use the orchestra as an instrument that can provide color, depth, and volume to basic musical material. Final assignment consists of orchestrating a piano score for chamber orchestra that will receive a public performance at semester's end. 3 CREDITS PREREQUISITES: 32-2132 KEYBOARD II, 32-2251 ORCHESTRATION I
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2.00 Credits
This course applies topics covered in Theory, Harmony, and Ear Training classes to the keyboard, while concentrating on styles and voicings common to popular and jazz idioms. The course further develops the student's facility for the keyboard as both a creative and interpretive tool. 2 CREDITS PREREQUISITES: 32-2132 KEYBOARD II OR 32-2311 JAZZ KEYBOARD CONCURRENT: 32-3161 POP/JAZZ THEORY AND MUSICIANSHIP
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3.00 Credits
For 10 days, students study in Cordoba, Spain, with some of the world's greatest guitarists at the Festival Internacional de Guitarra; hear lectures on the development and history of the guitar; attend classical, flamenco, and jazz concerts; and visit the Alhambra in Granada, cathedrals in Sevilla, and the Prado Museum in Madrid. At the conclusion of the trip, students submit a term paper describing their cultural and musical experience. 3 CREDITS PREREQUISITES: 32-2721 PRIVATE LESSONS: FINGER-STYLE AND CLASSICAL GUITAR OR 32-2723 PRIVATE LESSONS: FUSION ROCK GUITAR OR 32-2725 PRIVATE LESSONS: JAZZ GUITAR
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