Required materials:

Kostka, Stefan. Materials and Techniques of Twentieth-Century Music. Englewood Cliffs, N.J.: Prentice Hall, 1999.

Stiff music-writing paper, soft lead pencils, erasers.

Class goal:

To develop compositional skills based on stylistic practices from the 20th century. Students will learn techniques for generating and developing ideas, capabilities of several different instruments, analytical techniques for generating ideas based on the study of other composers' works, and ways to discuss and critique their own and each others' work. Students will also practice aural skills to enhance their aural and physical facility with 20th-century musical styles.

Grade breakdown:

Compositions 3 and 6 (mid-sem and final projects)	40%
Other compositions	40%
Homework, preparation, and participation	15%
Final exam projects (experimental composition)	5%

Policies and class structure:

Retain the original copy of every composition and bind it into a three-ring or other binder to keep as a portfolio of your work for the semester. Submit clear photocopies, using double-sided copying and some form of binding (tape or spiral) for compositions exceeding three pages in length.

Students may request 2-day extensions on compositions by submitting a copy on the due date demonstrating considerable progress toward the work's completion and indicating in a type-written page what work remains to be done and why an extension is needed. No extensions will be granted for the mid-semester and final compositions, however.

On Friday, December 6, the class will present a noon-hour concert of selected work produced during the semester. All students will participate in some aspect of the performance and presentation of this concert.

Questions to stimulate self-evaluation and discussion of compositions:

1. Does the piece begin well? Does it have an interesting idea, well stated, that captures the listener's attention?
2. Does the piece end well? Is there a sense of finality and completeness?
3. If there are contrasting musical ideas, do they seem fresh and interesting and yet consistent with the original?
4. Are elements of contrast sufficient for the length of the composition? Does the piece ever seem tedious and boring? Is it too long for its material?
5. Are transitions compelling and effective? Do they ever seem forced and arbitrary?
6. Are ideas developed adequately? Does the music ever seem to do too many new things too often? Is the length appropriate for the number of different musical ideas presented? Are ideas transformed inventively?
7. Are the notes/rhythms correct? Do they fit together coherently?
8. Is the music gratifyingly written for the instruments?
9. Does the piece have character? Is it memorable?
10. Does the music fit the constraints of the assignment regarding length, character, vocabulary, technique, etc.?
11. Would you want to hear this work again?

Date Assignment

AUGUST

30	In-class harmony review and introduction to new possibilities for harmonization.

SEPTEMBER

2	Complete the traditional and free triadic 4-part harmonizations of "My Country 'tis of Thee" begun in class. In the free triadic version, favor non-traditional progressions but traditional voice-leading (independent voices with a balance of types of motion between them). Use major and minor triads in root position and first inversion only, unless you are confident that your second inversion triad is one of the four basic types (neighboring, passing, cadential, or accompanimental.) Use your ear and your knowledge about chromatic mediants, etc., to guide you to progressions that are fresh and interesting but still coherent. You may use 7th chords in the traditional harmonization, but use only triads in the free triadic one. In both versions, you may treat some of the 8th notes as non-harmonic tones. Also, read Kostka ch 1 & 2. In the book or on a separate piece of paper, notate answers to ex. 1 from part A on p. 15; ex. 1 from part C on p. 20; and ex 1 & 2 on p. 40.
4	Read Kostka ch 3 & 8. On a separate sheet of paper, write answers to ex 1, 2, 3, & 4 on pp. 69-70, and for discussion identify examples of each of the following in Ives "The Revival," mvt. 3 from Sonata for Violin, No. 2: added note chord bichord (polychord) secundal chord quartal chord quintal chord scale other than major or minor
5 11am Thurs	Read pp. 19-28 of Hansen's The Essentials of Instrumentation (Chenette office reserve) and complete revisions, if desired, of your traditional and free triadic harmonizations of "My country 'tis of thee."
9	Read Kostka ch 4. Work on composition 1. Compose 2 harmonizations of your chosen tune for composition 1 (see assignment below) -- one traditional and one exploring chromatic, free triadic, or other extended harmony -- with the melody in the violin and the harmonization in the piano. For the traditional version, use only root position and first inversion Maj or min triads or the four basic types of 6/4 chord (neighboring, passing, cadential, or accompanimental.)
11	Read Kostka ch 5. Work on composition 1. Compose a melody of at least 18 measures for solo violin, using your chosen tune for composition 1 as the source of materials to which you apply one or two techniques of melodic development to create a well-shaped, unified whole, ending with a strong cadence. Composition workshop (sharing progress and problems).
13	Read Kostka ch 6 and 7. Work on composition 1. Make notations on the score or a separate sheet of paper responding to the following questions concerning Ives "The Revival," mvt. 3 from Sonata for Violin, No. 2: Find at least one passage where the music seems clearly tonal to you (measure numbers). Identify the tonic note in that passage and describe how it receives emphasis. Locate at least one example each of the use of pedal tones and ostinatos. How does Ives use the hymn tune in this movement? Are there any fragments of it that he seemed particularly interested in? What techniques of melodic development does he apply to it? Study the metric relationship between the music played by the violin and the music played by the piano at letter E. How are beats grouped, and what is the character of the music in this passage (stable, exploratory, etc.)? Where do the most prominent changes take place in this movement, and what elements change and stay the same at those points? What form does the movement take as a whole? Where is the dramatic high point of this movement, and what factors contribute to its intensity? What techniques are used in the ending to try to resolve the tensions built up by the previous music? Does the ending work?
16	Work on composition 1. For inspiration, you might listen to the famous set of variations on the tune "Simple Gifts" from Aaron Copland's Appalachian Spring. Composition workshop.
18	Composition 1 due: Choose a tune that you know well -- preferably one that I know too. Compose an extended (1-3 minute) meditation, fantasy, or set of variations for violin and piano based on that tune, experimenting with harmony and rhythm in ways inspired by your study of Ives' "The Revival" and the examples in Kostka. Some ideas for composing variations: Invent a fresh harmonization of your melody using free triadic harmony or planing Planing: make sure the chord is interesting, well-voiced, and sounds good with melody Free triadic: - Use only triads plus their inversions and occasional 7th chords (if desired). - Begin and end with the same root position major or minor triad. - Use your ear in creating chord progressions that sound fresh and interesting. Favor progressions whose roots move by unusual intervals: 3rds, tritones, and 2nds rather than perfect 4ths and 5ths. - Favor smooth, balanced voice leading between chords (with some independent motion of separate voices), but have at least one passage based on planing. - Favor root position triads at cadences. Use second inversion triads sparingly. - Strive for a smooth, well-directed bass line and an effective dramatic shape with a clear high point. Compose a quartal or quintal harmonization, possibly using planing to progress between chords Set up an interesting ostinato and then bring the melody in above or below it - Ostinato = a melodic, harmonic, and/or rhythmic figure persistently repeated throughout a composition or a section of a composition - Basic requirements: MUST BEAR REPEATING END MUST LINK TO BEGINNING USUALLY< BUT NOT ALWAYS> IN LOWER PART' MUST BE COMFORTABLE TO PLAY Write a WT version of melody and accomp with chords from same WT scale. Use a half-step to switch to other WT scale when it gets boring Put the melody in the piano l.h. and accomp. chords in violin Imitate melody canonically at different intervals in pitch and time Compose a 3-5 chord, free triadic progression that you find haunting and beautiful. Use it, with a variety of octave placements or metric arrangements, to provide an accompaniment to your melody Use one or two techniques of melodic transformation to unify an entire variation Use cluster chords, chords with seconds, and/or polytonal melodies a second apart to create a quiet, eerie variation Turn the melody (or parts of it) upside down In-class introduction to concepts of counterpoint, based on study of Bela Bartok's Mikrokosmos #101, "Diminished 5th."
20	Work on a contrapuntal etude for composition 2 using a non-traditional scale or scales. In-class study of polytonal works by Bartok (Kostka p. 135-6) and Stravinsky.
23	Work on a polytonal etude for composition 2. In-class listening session for composition1.
25	Submit drafts of the first two etudes for composition 2. Work on composition 2. In-class study of Claude Debussy "Voiles" from Preludes, Book I. For discussion, consider questions 1-4 on p. 106.
27	Work on a ternary form etude for composition 2 using the same non-traditional scale in the outer sections and a contrasting scale in the middle section. In-class study of Charles Griffes' "Prelude #3" from Three Preludes for Piano.
30	Work/sharing session in computer/keyboard lab

OCTOBER

2	Two additional movements of composition 2 due: one in ternary form using different scale materials in the A and B sections with a smooth transition between them and the other exploring the harmonic possibilities of an asymmetric, made-up (synthetic) scale having 5 to 9 notes. There does not need to be any connection between these two movements other than that both are for solo piano and explore tonal innovations like those we have studied this semester. Combined with the two movements submitted last week, this will make a 4-movement composition for solo piano. The version you submit for a grade at the mid-sem time may have three or four movements (i.e., you may leave out one of the four movements, if desired.) In-class introduction to considerations in planning multi-movement works.
4	Submit a paragraph- to page-long description of your midsem composition, composition 3 (see below.) Possible things to address: instrumentation and performers length and number of movements character of each movement: mood, form, scale materials or harmonic concepts or textures to be explored models that inspire you and that your piece might be like in some way, from among those compositions considered in class or other experimental, tonal music that you know of any borrowed or non-musical ideas that you hope to work into your composition in some way -- for instance, a quoted tune or a concept from mathematics or philosophy or a poem that moves you
7	Work on composition 3 and midsem portfolio. Private lessons on composition 3: 8:20 Shawn 8:40 Abby 9 Stew 9:20 Pete 9:40 Brad
9	Work on composition 3 and midsem portfolio. Private lessons on composition 3: 8:20 Nick 8:40 Joe 9 Richard 9:20 Ben 9:40 Jackie
11	Work on composition 3 and midsem portfolio. Performance-discussions of composition 2.
14	Work on composition 3 and midsem portfolio. Performance-discussions of composition 2.
16	Work on composition 3 and midsem portfolio. Private lessons on portfolios.
18	Composition 3 and midsem portfolios (revisions of compositions 1 and 2) due by 5 p.m. in my box in the Bucksbaum office. Submit all three compositions together in a folder or 3-ring binder. Do not staple them together. Composition 3: Create a tonal work for musicians you know using unusual scales, free triadic harmony, polytonality, or other ideas considered this semester. The piece should be at least 3 minutes long (single movement or multiple movements). Strive for effective balance and contrast between sections or movements. For example: if a multiple movement work, one movement might be a fast, binary form using imitative, contrapuntal procedures; a second slow movement might be based on a made-up scale and consist of one continuous section; a third movement might be in ternary form using accompanimental ostinatos. Portfolio: revise compositions 1 and 2 as desired, responding to my comments, comments of other students, and your own sense of the strengths and weaknesses of the first versions. For composition 2, you may omit one of the four movements, if desired (i.e., the finished version may have either three or four movements.) Include dynamics, tempo marks, and articulations (staccato, slur, accent, pedal, etc.) to clarify the music's shape and character. Delete empty measures at the end, adjust stem directions properly, etc. Quality and clarity of notation will influence the grade, although the most important considerations will be those listed above ("Questions to stimulate self-evaluation and discussion of compositions").
19-27	FALL BREAK
28	In-class introduction to cellular construction.
30	Read Kostka ch 9, and work ex 13-14, pp. 192-194 and ex 1, p. 195, making the melody 5 to 8 measures long with a sense of motivic unity overall and completeness (strong melodic cadence) at the end. Do #13 and #1 on a separate sheet of paper to hand in; circle in the book for #14.

NOVEMBER

1	Read the sections on brass instruments from Hansen's The Essentials of Instrumentation, and begin work on composition 4.
4	Composition 4 due: Compose a brief (minimum duration 20 seconds for a fast-tempo or binary piece, longer for a slow-tempo or ternary piece) atonal duo or trio in binary or ternary form for instruments selected from the following list: one trumpet, one trombone OR baritone, and two tubas. Use one of the pitch-class sets shown below, or two if you wish to distinguish the B section by using a different pc-set. Acquaint yourself with the ranges, dynamic characteristics, tone quality, and technical abilities of your chosen instrument(s) by reading the appropriate sections in Hansen's The Essentials of Instrumentation. If one of your chosen instruments is trumpet, pitch the part in Bb so that the written pitch is a major 2nd higher than the desired sounding pitch; you can do this in Finale by using the mass mover to transpose the trumpet part up a M2 when your piece is complete. Remember that brass instruments require occasional rests or breaks in their parts to allow for breathing. Pitch-class sets to choose from: Submit two copies of your piece -- one "clean" and one on which you've circled all the pc-sets. Every pitch in the piece should be a member of your chosen pc-set (or sets) or its (their) transpositions or inversions. Possible process: Compose a melody for one of the instruments, based on one of the pc-sets, to use in the first section of the music Every pitch in your melody should join with adjacent pitches to make a form of the set, including any transpositions or inversions with the same best lowest order. The notes within a particular statement of a version of the set may appear in any order. Sets may overlap -- that is, the last notes(s) of one version of the set may be used to generate another set which includes the same note(s). The interval between non-overlapping, successive statements of the set may be free -- that is, it need not be derived from the set. Notes may appear in whatever octave seems best musically. Single notes or small groups of notes may be repeated before the set is completed. Avoid vertical octaves, unless they are part of rich chords which hide their presence or unless they appear in a weak rhythmic position as a result of passing motions or unless they are at beginnings or endings where you wish to call attention to a pitch. The notated meter should reflect the natural emphases of your melody, with occasional shifts in meter if your melody calls for it. Make sure your melody is idiomatic for the instrument in terms of range and character. Notate the tempo. Add dynamics, articulations, and a word describing the character. Make sure you can hear and play or sing your melody. Create a contrapuntal or homophonic accompaniment to your melody, using the same pitch-class set you used for the melody. Write another melody to follow your original one, possibly using some melodic development techniques on the first melody to generate related but different motivic materials. Add an accompanimental part, and combine your two sections to form a piece in binary or ternary form. Here are some ideas for making the B section different from the A section: reverse the roles of accompanying and melodic instruments change the texture (contrapuntal instead of homophonic, or vice versa) change the register change the dynamics or character use a different pc-set from the list above Remember, though, that in a short piece the B section's contrast is likely to be small. In-class introduction to serialism and study of Arnold Schoenberg's "Trio" from Suite for Piano
6	• Read Kostka ch 10. • Finish the row form analysis of the Schoenberg "Trio" from Suite, op. 25 begun in class; note that Schoenberg treats the row more freely in the 3rd line (m. 39 left hand to 41 right hand), segmenting it into tetrachords and stating them simultaneously, rather like ex. 10-4 on p. 202 in the text. One of the tetrachords is even stated in reverse order. There is also a small anomaly (departure from normal row-form pitch order) in the final line. • Analyze the row from Luigi Dallapiccola's Quaderno Musicale di Annalibera (1952 -- Kostka p. 208, identify any tonal elements, important interval classes between adjacent pitches, patterns, recurrent pc-sets, etc.), and construct a row form matrix (magic square) for it. • Spend approximately 30 minutes to an hour working with the iTones ear training program, logging in using your actual name or, if you wish to remain anonymous, your campus box number as an identifier. Record your best score (quickest time, fewest number of errors, and hardest level) on a piece of paper, to report on Wednesday for my information.
8	Listen to Luigi Dallapiccola's Quaderno Musicale di Annalibera, and analyze the row forms and structure of movements 1 and 2. Spend additional time with iTones ear training, so that you spend at least an hour total with it this week. Record your best score (quickest time, fewest number of errors, and hardest level) on a piece of paper, to report on Friday for my information. Dallapiccola recording: 1Simbolo, 2 Accenti, 3 Contrapunctus primus, 4 Linee, 5 Contrapunctus secundus, 6 Fregi, 7 Andantino amaroso e contrapunctus tertius, 8 Ritmi, 9 Colore, 10 Ombre, 11 Quartina
11	Complete the analysis of the row forms and structure of movements 3 to 5 of Luigi Dallapiccola's Quaderno Musicale di Annalibera. Also, notate a rhythm for the text "Apple" from Tender Buttons (1914), by Gertrude Stein, using a single meter throughout, and select a short text from the Food section of Tender Buttons to use in your own composition due next Friday.
13	Work on composition 5.
15	Composition 5 due: Choose a brief text from the Food section of Tender Buttons (1914), by Gertrude Stein. Create a 12-tone setting of this text for voice and piano or multiple voices and piano. Make your composition at least 12 measures long, and use a single meter throughout. Base your composition on the following tone row, composing a melody line that you could sing if you had to and an accompaniment that provides good support for the pitches of the voice line: I I I I I I I I I I I I 0 9 7 8 4 2 3 5 11 6 10 1 P 0 G E D Eb B A Bb C F# C# F Ab 0 R P 3 Bb G F F# D C C# Eb A E Ab B 3 R P 5 C A G Ab E D Eb F B F# Bb C# 5 R P 4 B Ab F# G Eb C# D E Bb F A C 4 R P 8 Eb C Bb B G F F# Ab D A C# E 8 R P 10 F D C C# A G Ab Bb E B Eb F# 10 R P 9 E C# B C Ab F# G A Eb Bb D F 9 R P 7 D B A Bb F# E F G C# Ab C Eb 7 R P 1 Ab F Eb E C Bb B C# G D F# A 1 R P 6 C# Bb Ab A F Eb E F# C G B D 6 R P 2 A F# E F C# B C D Ab Eb G Bb 2 R P 11 F# Eb C# D Bb Ab A B F C E G 11 R 0 9 7 8 4 2 3 5 11 6 10 1 RI RI RI RI RI RI RI RI RI RI RI RI In-class performance/discussion of Steve Reich's Clapping Music
18	Work on composition 6 (see assignment below.) Performance-discussions of compositions 4 & 5.
20	Read Kostka ch. 15. Listen to Alvin Singleton's Changing Faces. Study guide (submit written notes): What is the form of this piece? What are the roles of rhythm, pitch, motive, dynamics, and register in defining the form?
22	Work on composition 6 (see assignment below.) Performance-discussions of compositions 4 & 5.
25	Work/sharing session in computer/keyboard lab.
27	Composition 6 due: Compose a work at least 3 minutes long demonstrating effectively your learning about new ways of structuring music. Your work may be in a single movement or multiple movements. Strive for interesting expository material, effective transitions, adequate development, and convincing terminations. Your piece may incorporate elements of new tonalities (modes, polytonality, pandiatonicism, synthetic scales, etc.), atonality (pc set construction), serialism (12-tone or integral or other), or minimalism. It may experiment with new timbral, rhythmic, or formal possibilities. Consider using a text to set or to trigger your ideas. You may compose for any instrument, voice, or combination of instruments at your disposal. You will need to write for people available for the Friday noon class concert. If you write for an instrument that is new to you, look up its characteristics in an orchestration text . Notate your music clearly and include tempi, performance markings, dynamics, articulations, and phrasing as needed.
28-Dec 1	THANKSGIVING BREAK

DECEMBER

2	Rehearse for concert.
4	Read Kostka ch 13 & 14, and rehearse for concert.
6	Prepare for concert.
6	noon, Sebring-Lewis Hall: Compositions by Grinnell Student Composers -- participation required
9	Work on projects for final exam period (see assignment below.)
11	Work on projects for final exam period (see assignment below.) Listen to Elegy and Affirmation (2002) for cello and piano, by Jonathan Chenette.
13	Work on projects for final exam period (see assignment below.) Watch the video Vox Balaenae (Voice of the Whale), (1971) focussed on the composition of the same name by George Crumb (Burling Listening Room Video G297.) Focus on the non-traditional uses of the musical instruments and try to imagine how you might notate such effects.
20	9 a.m.-noon: Compose a piece for unrehearsed group performance by the entire class. We will have up to ten minutes for the preparation and performance of your piece. The piece may explore human vocal or rhythmic sounds, sounds drawn from found objects or objects you provide, or sounds of traditional instruments played by members of the class provided you warn the appropriate class members to bring their instruments and you insure that their parts can be done with no rehearsal. Bring sufficient copies for every member of the class (11 counting JC). These copies should be prepared well in advance of the exam time, should be neatly typed or graphically designed if appropriate, and should include all information needed for successful performance of the piece -- that is, they should be in a form that would allow for realization even if you were not present at a performance. We will perform these together during the exam session in Bucksbaum 152, with someone other than you organizing (conducting) the performance of your piece. Your grade will be based on creativity, effectiveness in realizing the goals of group collaborative performance (fun, interesting sounds, enjoyable process, promotion of group cohesiveness), clarity of notation, quality of writing, and completeness of instructions. The copy of the score you submit to me should include a "Works Consulted" page (see next paragraph.) This project counts as 5% of your final grade for the course. Models for the group performance pieces can be found in the following texts and materials, at least one of which you should browse through before composing your own work. List any compositions that you looked at and were inspired by on a "Works Consulted" page attached to my copy of your score, using MLA format. 1. Source: Music of the Avant-Garde, multi-volume set in the library at M1.S77. Please do not check these out so that they will remain available for others to refer to. 2. Soundings, multi-volume set in the library at M1.S765 No. 12-16. Please do not check these out so that they will remain available for others to refer to. 3. Scores: An Anthology of New Music (Chenette office). 4. Michael Nyman's Experimental Music: Cage and Beyond (ML197 .N85 or Chenette office.)