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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. 

MUSC10311 & MUSC10312 are pre req of MUSC20321

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:

• Understand the technical and sonic characteristics of instrumental resources
• Demonstrate knowledge of these principles in scoring
• 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
• A practical understanding of how to prepare performance materials 

By the end of this course students will be able to:

• Analyse, evaluate and develop sonic material within aesthetic and technical contexts
• Research existing repertoire for guidance on completing the set tasks
• Evaluate a range of extant repertoire for technical and aesthetic features and apply this knowledge
• Plan sophisticated musical structures and solve technical and practical problems in bringing these to successful realization in performance
• Apply standard professional musical notation and evaluate its applicability to creative objectives
• Plan sophisticated musical structures that interact meaningfully and solve technical and practical problems in bringing these to successful realisation in performance 

 

By the end of this course students will be able to:

• Apply knowledge of the technical and practical features of instruments creatively
• Articulate shapes and dramatic strategies through sound
• Supervise and direct rehearsals
• Produce performance materials to professional standards
• Notate musical ideas such that they can be learnt by musicians without the composer
• Create musical shapes that interact with words in a coherent and meaningful way

By the end of this course students will be able to:

• Demonstrate organizational and management skills in booking musicians, arranging rehearsals and preparing performances
• Demonstrate attention to detail through preparing and editing performance material to professional standards
• Demonstrate creative problem-solving;
• Collaborate with other students in realizing their ideas, and the ideas of others.
   

Asessment task	Formative or Summative	Weighting within unit
Original composition 1	Summative	40%
Original composition 2	Summative	60%

 

 

 

• Weekly tutorials and workshops on work in progress
• Feedback from peers in tutorials, workshops and in collaboration with performers
• Written feedback on two summative assignments
• Oral feedback on two formative assignments
• Additional one-to-one feedback (during consultation hour or by making an appointment)

 

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 cello

Luciano 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 piano

Sally Beamish    ,Trinculo for trumpet in C and piano

Sally Beamish, Caliban for soprano saxophone and piano

Luciano Berio, Sequenza X for trumpet in C (amplified by piano resonances)

Pierre Boulez, Sonatine for flute and piano

John Casken, Blue Medusa for bassoon and piano

Peter Maxwell Davies, Hymnos for clarinet and piano

Philip Grange, La Ville Entiere for E-flat clarinet and piano

Sadie Harrison, Owl of Hazels for bass clarinet and piano

Sadie Harrison, 9 Breaths for clarinet and piano

Piers Hellawell, Russian Doll for trumpet and piano

Cheryl Frances Hoad, Heart of Glass for trumpet and piano

Vic Hoyland, Sicilian Vespas for flute and piano

David Horne, Trombone Sonata for trombone and piano

Emily Howard, Masquerade for clarinet and piano

Rob Keeley, Little Ariadne Variations for oboe and piano

Rob Keeley, Solar Panels for oboe and piano

Olivier Messiaen, Le Merle Noir for flute and piano

Thea Musgrave, Music for Horn and Piano  

Thea Musgrave, Piccolo Play, for piccolo and piano

Judith Weir, Sketches from a Bagpiper’s Album for clarinet and piano