Composition Courses

MLAN-372

2 credit(s)
Course Chair: Arnold Friedman
Semesters Offered: Fall, Spring
Required of: None
Electable by: All
Prerequisites: CM-212
Department Code: COMP

Score analysis, discussion, and study of Bartók's principal chamber works. Comparison of formal characteristics, scoring, and compositional practices.

MLAN-373

2 credit(s)
Course Chair: Arnold Friedman
Semesters Offered: Fall, Summer
Required of: None
Electable by: All
Prerequisites: CM-212
Department Code: COMP

Analysis of the early tonal and free atonal techniques in Schoenberg's pre-1923 compositions. Examinations of the causes and effects of preserial techniques in 20th-century composition.

MLAN-374

2 credit(s)
Course Chair: Arnold Friedman
Semesters Offered: Fall, Summer
Required of: None
Electable by: All
Prerequisites: CM-211 or CM-251, and CP-210 or CP-211
Department Code: COMP

A study of the aesthetic and compositional bases of representative works of J.S. Bach, placing the music in a cultural, biographical, and musicological context. Through lecture, listening, analysis, and discussion, the student will consider the distinctions, as well as the continuities, between the practical composer of weekly cantatas and the abstractionist composer of the Art of the Fugue.

MLAN-375

2 credit(s)
Course Chair: Arnold Friedman
Semesters Offered: Fall, Spring, Summer
Required of: None
Electable by: All
Prerequisites: CM-212, and CP-210 or CP-211
Department Code: COMP

An in-depth examination of representative works spanning Stravinsky's total creative output. Concentration on listening and analysis of representative works.

MLAN-376

2 credit(s)
Course Chair: Arnold Friedman
Semesters Offered: Spring Only
Required of: None
Electable by: All
Prerequisites: CM-212, and CP-211 or CP-210
Department Code: COMP

Analysis of the development of the Sibelius style from the first through the seventh symphonies. Methods by which the Finnish master utilized tone color, motive development, beat modulation, and modal counterpoint. In addition, concepts of orchestration will be discussed and analyzed in selected tone poems as well as the symphonies.

MLAN-381

2 credit(s)
Course Chair: Arnold Friedman
Semesters Offered: Fall, Summer
Required of: None
Electable by: All
Prerequisites: CM-212, and CP-210 or CP-211
Department Code: COMP

An in-depth examination of composers whose work has proven of lasting importance, not only in and of itself, but also because of its influence on contemporary compositional styles. A different composer will be covered each semester; the current selection will be posted on student bulletin boards and in the Composition Department during registration and check-in periods. Composers covered include Claude Debussy, Maurice Ravel, Paul Hindemith, Aaron Copland, Charles Ives, and music theater crossovers including George Gershwin and Leonard Bernstein.

MLAN-385

2 credit(s)
Course Chair: Arnold Friedman
Semesters Offered: Fall, Summer
Required of: None
Electable by: All
Prerequisites: CM-212
Department Code: COMP

A comparative, historical study of sonata forms from the baroque period to the present. Selective analysis of representative works by Scarlatti, Haydn, Beethoven, Brahms, Debussy, Scriabin, Schoenberg, Shostakovich, and Britten. Emphasis on historical development and evolution of the sonata form.

MLAN-P314

2 credit(s)
Course Chair: Arnold Friedman
Semesters Offered: Spring Only
Required of: None
Electable by: All
Prerequisites: CM-212, and CP-210 or CP-211
Department Code: COMP

This course draws from a wide variety of classical and contemporary compositional forms, styles, and concepts. Students examine and explore approaches through the analysis of scores, and through discussions, study, and listening. Students read writings of composers, dealing with creative conception and process in modern symphony, opera, chamber, experimental, and popular forms (exploring Bach, Bernstein, Varèse, Babbitt, Stockhausen, Ellington, Jarrett, Maria Schneider, Monk, Sting, Ani DiFranco, and more). Students explore various music and approaches, and read and write critical papers on their own aesthetic/perspectives. They apply various approaches as they develop their own composition process, style, and techniques.

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