Week 6 Reading

You will read "The Listener's Interpretation of Music" by Herbert Brun. As usual I would like a one paragraph synopsis of what Brun says and a one paragraph reaction or interpretation that explains your perspective on this article.

Also please give this a watch listen

It is the composition MetatStasis by Xenakis. There are a lot of events happening in LA about him this month, so if you are interested, I would suggest you look around as this will not happen for another 5o years.

Week 5 Reading

Counterpoint

This week you are writing a second voice against a first voice. In much of music history this practice is characterized as Counterpoint. There is a specific set of rules that applies to "Counterpoint" and we will eventually arrive at them through practice, not prescription.

The rules can be understood as governing the horizontal movement and the vertical relationship of tones. Your assignment has constrained you to deal with only three vertical relationships (the minor second, the tritone and the Major Sixth). What you need to consider is two fold
1. Is the new melody beautiful? (Quantification of Beautiful = does it keep the listener interested by contrasting predictable and surprising movement and is there an organic flow/feeling to the melody).
2. Does the new melody serve to support the old melody and at the same time is it unique and interesting of it's own accord?

Your last assignment the challenge was to work out a single line that was beautiful. Questions you could ask yourself are;
1. In what domain (parameters of composition: pitch, timbre, rhythm) is your melody "playing it's game?"
2. Does your melody hold the listeners interest by giving them something to latch on to and surprise them?
3. Does your melody have a shape or contour? How can your new melody combine with old to support and contradict that shape?


Again, there is a long history of counterpoint and you will become increasingly aware of it. I would like you to read the wikipedia entry on Counterpoint. Your written response should indicate what you understand and what raises questions for you in the reading? (Of course you should try to look up answers to questions, but if you can not find an answer, note that. Also, note what questions came up and that you were able to find an answer to).

The other point of your assignment is to listen to some classic counterpoint. To do this you will use the inline resources of the library. You need to go to the Library homepage. On the top right of the page is the "Off Campus Login" click on this and once you have logged in go to the "Article Indexes Databases." From this list select "Naxos Music Library". Once you have arrived at the Naxos Library, look up "DUFAY, G.: Vocal Music (Quadrivium) (Cantica Symphonia)" and listen to track Number 7 - "Anima mea lique facta est"

The cover for this album looks like this

Listen to this a composition (note, this is not a song) a good ten times or so and then answer the following questions
1. How does Dufay achieve independence of the different lines?
2. Describe (Characterize) the form of this piece. [I am looking for you to describe how many sections there are, how do you know where one section begins and another ends? is there material that is repeated?
3. Transcribe (notate)the first 16 seconds. Everything until the first dyad.

Week 4 Reading

Just to be clear, your assignment was to listen to attend the Marc Sabat concert. If you have questions or thoughts about his work, it is worth investigating his website. His work is unusually well documented and explained.

Also, I expect an understanding and mastery (as much as befits your level in one week) of notation software.

Reading Assignment 3

Please read this and write a one paragraph summary and a one paragraph statement of how this relates to your practice.

Also Please watch this video and write one paragraph on how it relates to your practice as an artist.

Reading Assignment 2

Please read this and send a one paragraph (by email) summary of what is said in the article. Also, a second one paragraph where you indicate your thoughts about what is said in this article and the following video. Specifically I want to know what these 2 sources tell you about your own practice of creating art. These are due by 9PM October 13, 2010.

Reading Assignment One

Read this article and write a one paragraph response. This is due via email, to the instructor by 9PM the evening before the day of class.


Also, this discussion of musical parameters is interesting. Post a reaction or thought in the comments section of this post.

Syllabus

Composition Class :: Music :: 8 Fall 2010 :: Room 1213 Music Building
http://8eighty8.blogspot.com :: Blog
Christopher Jette :: Instructor
By appointment :: Office Hours
six17.8six9.39six8 :: Phone
christopherjette (at) gmail (dot) com :: Email

Prerequisite for Music 8
• Music Majors – Must be concurrently enrolled in, or have successfully completed Music 5A.
• Non-Majors – A solid background of music notation and theory or have completed Music 11. Please consult the instructor directly.

To advance to Music 88
• Normally 3 quarters of Music 8.
• A portfolio consisting of four short pieces (under 5 minutes) exhibiting different instrumentation, and a piece of substantial length.
• Consent of the instructor.

Music 8 Requirements
• Completion of weekly assignments (composition and writing). There will be weekly composition assignments that students will present to the class. There will be weekly reading assignments which students will write a one-paragraph reflection on.
• Concert report – one per quarter.
• Attendance of all classes. If you are not present in class, you must have a letter from a doctor on letterhead with a signature and contact information for the doctor.
• Students are responsible for all material posted on the class blog.
• Midterm – performance of a composition.
• Final – Written, performance, listening and portfolio review with instructor and other composers.

Sign up for Composers Mailing List http://lists.create.ucsb.edu/mailman/listinfo/composers



Grading
If you ever have a question or concern contact the instructor. All email, phone messages and written documents will become part of your portfolio.
• The student must exhibit significant progress as an artist over the course of the quarter.
• Weekly Compositions = 15%
• Weekly Reading Reflections = 15%
• Midterm = 15%
• Final In Class = 15%
• Final Portfolio = 15%
• Instructor Caprice = 25%
o The instructor will make an assessment of the development of each individual based on their artistic, professional and personal growth throughout the quarter. Each student is responsible for impressing each other, themselves and the instructor with an innate ability.

Weekly Schedule
1 [ 2010 September 29 ]
• Introduction
• Listening :: One
• Lecture :: Parameters
A composition that explores one :: Assignment

2 [ 2010 October 6 ]
• Listening :: Two
• Lecture :: Tools
Composition on two. Reading reflection :: Assignment

3 [ 2010 October 13 ]
• Listening :: Three
• Lecture :: Decision Making Listening

Composition on three. Reading reflection :: Assignment
4 [ 2010 October 20 ]
• Listening :: Four
• Lecture :: Etiquette
Composition on four. Reading reflection :: Assignment

5 [ 2010 October 27 ]
• Listening :: Five
• Lecture :: Aesthetic
Composition on five. Reading reflection :: Assignment

6 [ 2010 November 3 ]
• Listening :: Six
• Lecture :: Analysis
Composition on six. Reading reflection :: Assignment

7 [ 2010 November 10 ]
• Listening :: Seven
• Lecture :: Performance
Composition on seven. Reading reflection :: Assignment

8 [ 2010 November 17 ]
• Listening :: Seven
• Lecture :: Performance
Composition on seven. Reading reflection :: Assignment

9 [ 2010 November 24 ]
• Listening :: Seven
• Lecture :: Performance
Composition on seven. Reading reflection :: Assignment
10 [ 2010 December 1 ]
DEAD WEEK
FINAL December 8



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The Bottom Line – Write music often and to the best of your ability.