Overview

This module aims to place students’ own creative practice in the context of contemporary composition across a range of genres and styles. By studying the work of established composers students will draw out technical, theoretical, aesthetic and philosophical insights which will help to inform and guide their own practice.

Part of the module addresses issues of direct relevance to composition in one of three areas/contexts: composition for instruments and voices; music for film and games; electroacoustic music and sonic art (students must specify which are they wish to study). The other part involves all composers together, discussing issues relevant to all composition and learning from each others’ specialisms and interests.

Seminars will focus on a particular area of composition (instrumental and vocal; film and games; electroacoustic and sonic art). Students will consider the theoretical and technical issues arising from particular works of contemporary composition, and from relevant critical studies of them.

Students and staff will also meet together as one larger group combining all areas of composition, and will hear presentations from staff, students and visiting lecturers on topics of relevance to all forms of composition. They will consider and discuss in what ways insights gained from considering one genre of composition might be applied to others.

Topics, works and texts to be considered may include: Music from Experience Music from the Past Music from the Everyday Composing Opera Folk Music in Art Music One vs Many Anna Meredith’s Hands Free Lachenmann’s extended techniques Joanna Demers: ‘Site in Ambient, Soundscape and Field Recordings’ (Listening Through the Noise‘) Trevor Wishart: ‘Beyond the Pitch/Duration Paradigm’ (On Sonic Art) Denis Smalley: ‘Spectromophology: Explaining Sound Shapes’ (Organised Sound)

Assessment Strategy

Threshold (50–59%) The crucial element is the creation of musical ideas. Factors which may limit a mark to this level include: a simplistic or over-complex global structure not supportive of or supported by the material of which it consists; musical argument only intermittently discernible with only limited exploration of materials; musical ideas few and/or of questionable value; an imbalance in unity and diversity at the expense of sustained interest (especially through uncritical repetition of material verbatim); variability in the appropriateness of the use of instrumental, vocal, sonic and/or technological resources; technique restricted to a rather basic level; some basic, though not always successful, attempts to achieve musical shaping and control of phrases, gestures, pacing, tempo, dynamics, sonorities and textures; mostly adequate presentation, though with some significant lapse, and materials that may need some revision to be of practical use in performance.

Good (60–69%) The distinguishing quality is the creation, technical realisation and organisation of imaginative musical ideas to create an aesthetically convincing overall outcome. The composition exhibits a majority of the following: a well articulated and effective global structure; a clearly discernible musical argument, constructed through the exploration and development of musical ideas and materials; imaginatively conceived and articulated musical ideas; unity and diversity well balanced, such that the composition achieves a good degree of interest and coherence; appropriate and effective use of instrumental, vocal, sonic and/or technological resources contributing to creative ends; assured use of appropriate technical means; good sensitivity to the shaping of phrases, gestures, pacing, tempo, dynamics, sonorities and textures, showing an appreciation of their overall effect on the musical outcome; presentation of a good standard, with good attention to detail and some evident consideration of the practicability of performing materials.

Excellent (70%+) The distinguishing quality is the creation of a compelling, engaging and aesthetically satisfying overall outcome through sustained musical imagination and technical command The composition exhibits a majority of the following: a coherent, tightly constructed global structure; a cogent, convincing and sustained musical argument, constructed through the exploration and development of the full potential of musical ideas and materials; musical ideas conceived and articulated with evident flair and imagination, and some degree of originality; an entirely appropriate (but not necessarily equal) balance of unity and diversity, such that interest and coherence are sustained throughout; distinctive, creative and idiomatic use of instrumental, vocal, sonic and/or technological resources; confident, fluent and discerning use of appropriate technical means; evidence of acute sensitivity to the effectiveness of, and assured control over, the shaping of phrases and gestures, pacing, tempo, dynamics, sonorities and textures, and the combination, juxtaposition and relationship of ideas and materials; impressive presentation, with excellent attention to detail and full consideration of the practicability of performing materials (whether for live performance or the realization of electroacoustic presentation).

Learning Outcomes

• Articulate, synthesise and/or apply a variety of theories, contexts and concepts relating to contemporary composition

• Communicate ideas and express views effectively in writing

• Contextualise creative work with that of other composers

• Demonstrate proficiency in a variety of compositional techniques