Instrumental Composition

MUSC20321 Instrumental Composition 20 Semester 1 Undergraduate Level 2 Joshua Brown Unit coordinator Music 1 FHEQ level (Framework for Higher Education Qualifications) ' Middle part of Bachelors ' European Credit Transfer & Accumulation System Rating : 10.0 A practice-based course in which students create original compositions for instrumental resources to set briefs. Students are introduced to the technical and timbral qualities of instruments and how to use these to articulate temporal and dramatic strategies through sound. Students prepare performance materials for the realization of their ideas and organize rehearsals and workshops (where appropriate) with other students. Each project ends with a series of performances which are recorded.  A practice-based course in which students create original compositions for instrumental resources to set briefs. Students are introduced to the technical and timbral qualities of instruments and how to use these to articulate temporal and dramatic strategies through sound. Students prepare performance materials for the realization of their ideas and organize rehearsals and workshops (where appropriate) with other students. Each project ends with a series of performances which are recorded.  This course unit provides knowledge of instrumental resources (their technical features and sonic characteristics) and how these may be employed in the handling of musical parameters to articulate musical shapes.  By the end of the course students will have applied this knowledge by completing two original compositions and bringing these to a well-prepared performance standard.   By the end of this courset students will be able to:<ul><li>Understand the technical and sonic characteristics of instrumental resources</li><li>Demonstrate knowledge of these principles in scoring</li><li>Have a sophisticated understanding of the principal musical parameters and how to use these to profile material, articulate temporal strategies and inform the dramaturgical relationship between instruments</li><li>A practical understanding of how to prepare performance materials </li></ul> By the end of this course students will be able to:<ul><li>Analyse, evaluate and develop sonic material within aesthetic and technical contexts</li><li>Research existing repertoire for guidance on completing the set tasks</li><li>Evaluate a range of extant repertoire for technical and aesthetic features and apply this knowledge</li><li>Plan sophisticated musical structures and solve technical and practical problems in bringing these to successful realization in performance</li><li>Apply standard professional musical notation and evaluate its applicability to creative objectives</li><li>Plan sophisticated musical structures that interact meaningfully and solve technical and practical problems in bringing these to successful realisation in performance </li></ul>  By the end of this course students will be able to:<ul><li>Apply knowledge of the technical and practical features of instruments creatively</li><li>Articulate shapes and dramatic strategies through sound</li><li>Supervise and direct rehearsals</li><li>Produce performance materials to professional standards</li><li>Notate musical ideas such that they can be learnt by musicians without the composer</li><li>Create musical shapes that interact with words in a coherent and meaningful way</li></ul> By the end of this course students will be able to:<ul> <li>Demonstrate organizational and management skills in booking musicians, arranging rehearsals and preparing performances</li> <li>Demonstrate attention to detail through preparing and editing performance material to professional standards</li> <li>Demonstrate creative problem-solving;</li> <li>Collaborate with other students in realizing their ideas, and the ideas of others.  </li></ul> Analytical skills Analytical Skills (surveying repertoire, analysing materials for musical potential Group/team working Team work (collaborating with musicians); Interpersonal skills (collaborating with musicians) Innovation/creativity Initiative (inventing a creative concept and putting into motion); Creative problem-solving (fulfilling set task with set resources Leadership Leadership skills (being responsible for overseeing a creative product from inception through to final performance); Time management (Running workshop and rehearsal) Project management Working to tight deadlines (composing music, and preparing performance materials in time for workshops and performances) Other Time management (participating in workshops and rehearsals); Editing (in preparing performance materials); Organizational skills 0 Other 100% <figure class="table" style="float:left;width:500px;"><table border="1" cellpadding="1" cellspacing="1"><thead><tr><th scope="col">Asessment task</th><th>Formative or Summative</th><th scope="col">Weighting within unit</th></tr></thead><tbody><tr><td>Original composition 1</td><td>Summative</td><td>   40%</td></tr><tr><td>Original composition 2</td><td>Summative</td><td>   60%</td></tr></tbody></table></figure>    <ul> <li> Weekly tutorials and workshops on work in progress</li> <li> Feedback from peers in tutorials, workshops and in collaboration with performers</li> <li> Written feedback on two summative assignments</li> <li> Oral feedback on two formative assignments</li> <li> Additional one-to-one feedback (during consultation hour or by making an appointment)</li></ul>  MUSC10311 Sonic Invention A Pre-Requisite Compulsory MUSC10312 Sonic Invention B Pre-Requisite Compulsory MUSC10311 & MUSC10312 are pre req of MUSC20321 BA(Hons) Music & Drama BA(Hons) Music & Drama Second Year Optional MusB(Hons) MusB (Hons) Music Second Year Optional MusB(Hons) (joint with RNCM) MusB(Hons) (joint with RNCM) Second Year Optional BA Film and Music BA Film and Music Second Year Optional N Project 1 Scores:J.S. Bach, Six Suites for unaccompanied cello ( 1717-1723)J.S. Bach, Sonatas and Partitas for unaccompanied violin (1720)Béla Bartók, Sonata for solo violin (1944)Sally Beamish, Penillion for solo celloLuciano Berio, Sequenza VI for solo viola (1967)Benjamin Britten, Three Suites for solo cello (1964, 1967 and 9171)Elliott Carter, Four Lauds which for solo violin (1984)Ronald Catalbiano, Lines from Poetry for solo violin (1993)Sadie Harrison, Bavad Khair Bagi! for solo violin (2002)Cheryl Frances-Hoad, Excelsus, for solo cello (2002)Helmut Lachenmann, Pression for solo cello (1969)György Ligeti, Sonata for solo viola (1994)György Ligeti, Sonata for solo cello (1953)Thea Musgrave, D.E.S. for solo cello (2016)Kaija Saariaho , Petals for solo cello and electronics (1988)Iannis Xenakis , Mikka s for solo violin (1971)Iannis Xenakis, Nomos Alpha for solo cello (1965)Project 2 Scores:Harrison Birtwistle, Verses for clarinet and pianoSally Beamish    ,Trinculo for trumpet in C and pianoSally Beamish, Caliban for soprano saxophone and pianoLuciano Berio, Sequenza X for trumpet in C (amplified by piano resonances)Pierre Boulez, Sonatine for flute and pianoJohn Casken, Blue Medusa for bassoon and pianoPeter Maxwell Davies, Hymnos for clarinet and pianoPhilip Grange, La Ville Entiere for E-flat clarinet and pianoSadie Harrison, Owl of Hazels for bass clarinet and pianoSadie Harrison, 9 Breaths for clarinet and pianoPiers Hellawell, Russian Doll for trumpet and pianoCheryl Frances Hoad, Heart of Glass for trumpet and pianoVic Hoyland, Sicilian Vespas for flute and pianoDavid Horne, Trombone Sonata for trombone and pianoEmily Howard, Masquerade for clarinet and pianoRob Keeley, Little Ariadne Variations for oboe and pianoRob Keeley, Solar Panels for oboe and pianoOlivier Messiaen, Le Merle Noir for flute and pianoThea Musgrave, Music for Horn and Piano  Thea Musgrave, Piccolo Play, for piccolo and pianoJudith Weir, Sketches from a Bagpiper’s Album for clarinet and piano   Lectures 8 Practical classes & workshops 6 Tutorials 5 0 181