MUS 321 Beginning Composition

Fall 2011

Syllabus

Basic Information

Instructor:	Dr. Dan Hosken
Office:	Music 235
Office Phone:	(818) 677-3161
Email Address:	dan.hosken@csun.edu
Office Hours:	M 10–12, W 10–12
Course Web Page:	Accessed through Moodle: http://moodle.csun.edu/
Pre-requisite:	MUS 214: Harmony II
Co-requisite:	MUS 311/L: Musicianship V
Text:	Bound 12-stave music notebook (available in bookstore) Handouts/Online Reserves

Course Description:

Beginning exercises in basic techniques of composition with an emphasis upon imitating the styles of the great composers of art music in the 20th century.

Course Objectives

The main goal of this course is to help you understand and practice composing in a few of the most important musical styles of the 20^th century, through the analysis of works by major composers of our recent past, and the creation and performance of your own works. During the first two months we will spend most of our time discussing how the music of the great masters of the recent past have worked and analyzing specific compositional techniques and concepts, such as melody, harmony, rhythm, orchestration and overall style. We will cover works by Debussy, Stravinsky, Bartók, Schoenberg, and others.

Beyond this initial phase, your next goal should be concerned with learning something new about yourself. You will try to develop your own musical personality, and learn new ways of bringing to light your creative ideas. Throughout the semester you should focus your time and attention not only on imitating other composers, but also on finding your own artistic voice.

The final weeks will be devoted to the study of melodic composition in several styles, culminating in a composition for a solo single-line instrument. I have not provided a strict schedule for the entire semester, since the pace of class will be determined mainly by your own progress.

Program Student Learning Outcomes Addressed in this Course:

demonstrate the ability to hear, identify, and work conceptually with the elements of music, through sight-reading, basic keyboard proficiency, and musical analysis.
demonstrate a working knowledge of music history within their area of specialization and an acquaintance with the history, cultural background and repertories beyond that area, including a wide selection of Western and world music literature.
demonstrate a working knowledge of music technology and its application to their area of specialization.
create derivative or original music in both extemporaneous and written form.

Evaluation

Grading for this class will be both objective and subjective. The objective side will be concerned with the correct, clear, and complete notation of your exercises, and the appropriate use of melodic, harmonic and rhythmic devices typical for the composers being imitated. Other major factors (objective and subjective) will be the quality and quantity of the music you have written, your general understanding of the styles and composers discussed in the course, as well as your participation in class sessions. There will be approximately one large composition assignment every 3-4 weeks, with the final performance session to be held during the final exam time.

Grading

Compositional Assignments 40%

There will be 3–4 substantial compositional assignments given through the semester. These will typically be works for a specified instrumentation in a style imitative of a specific composer. These assignments will be graded according to the correct, clear, and complete notation of your exercises, and the appropriate use of melodic, harmonic and rhythmic devices typical for the composers being imitated. There will naturally be a subjective component to such an evaluation. You are required to utilize computer notation software to notate these assignments and you will turn in the electronic document (PDF) and an audio file (mp3) at the time the assignment is due. In addition, you will turn in a brief “self analysis” identifying the techniques being used and where in the piece. These assignments will be graded with traditional A–F grades (see grading percentages below).

Final Composition 20%

Toward the end of the semester, you will compose a work for a solo single-line instrument that is to be performed on the scheduled final exam day. You will be responsible for finding a performer and rehearsing with them. This composition should reflect your own synthesis of techniques and styles covered in the class as well as representing the beginnings of your own personal stylistic development. You are required to utilize computer notation software to notate this assignment and you will turn in an electronic document (PDF) and an audio file (mp3) at the time the assignment is due. In addition, you will turn in a brief “self analysis” identifying the techniques being used and where in the piece. Any exceptions to the use of notation software based on notational complexities are at the sole discretion of the instructor and must be discussed well in advance. This assignment will be graded with traditional A–F grades (see grading percentages below).

Weekly Assignments 30%

You will be given one or more composition exercises, analytical worksheets, or listening assignments per week. These are typically given in one class session and due the next. Compositional exercises will be done by hand (relatively neatly) in a bound manuscript book that you can purchase at the CSUN bookstore or elsewhere online (must be bound and preferably 12-staves per pages). These assignments will graded as √+, √, √-, 50, or 0 (100%, 85%, 70%, 50%, and 0%). For a solid, competent assignment that meets the stated requirements you can expect to receive a √. √+ grades will be relatively rare.

Class Participation 10%

Each class will have a discussion component concerning analytical assignments, listening assignments, reading assignments, and/or other students’ work. You will be expected to actively contribute to these class discussions.

Grade Percentages

100/95 A 92 A-

88 B+ 85 B

82 B- 78 C+

75 C 72 C-

68 D+ 65 D

62 D- 00–59 F

Late Work

Work must be turned in on time. If you are absent from a class when a project is due, you must turn it in the very next class. If you must miss a class (for example, due to a school ensemble performance), notify the instructor and turn in the assignment in advance of the scheduled time. If there are extenuating circumstances, you must inform the instructor ahead of time. Any exceptions based on extenuating circumstances are at the sole discretion of the instructor.

Attendance Policy

Per Music Department policy:

Each absence in excess of 2 shall lower the final grade by 1/3 grade (e.g., 3 absences would change a B into a B-, 4 absences would turn that B into a C+, etc.).
Tardiness is defined as arrival any moment after the time the class is listed to begin in the Schedule of Classes. Two “Tardiness”es shall be counted as one absence.
Absence due to illness will be excused only with a doctor’s verification slip.

Academic Dishonesty

Cheating and plagiarism will not be tolerated. If you are caught cheating or plagiarizing in any form, you will receive a failing grade for the assignment and be reported to the university for appropriate disciplinary action. Any subsequent infractions will result in failing the course.

Email Communication:

I will be communicating with you frequently by email and I will be sending that email to your CSUN email address. If you don’t check that account regularly, you must forward your CSUN Gmail to whatever email account you read on a regular basis.

Concert Attendance:

There are two concerts you are required to attend as part of the “Weekly Assignments” grade:

Sunday, October 2^nd, 3pm, Valley Performing Arts Center: CSUN Music Department Faculty/Student Showcase
Tuesday, November 29^th, 8pm, Valley Performing Arts Center: Jazz ‘A’ Band

After each concert you will be required to submit your ticket to me and post a response to the concert in a Moodle Forum.