Generally, students are awarded one credit for each hour of class time.
Exceptions are made for studio, ensemble, and a small number of classes.
For complete information as to courses offered in the current year, students
should consult the schedule of course offerings available each semester in the
Registrar’s Office. Courses numbered 100 through 499 are undergraduate
level; courses numbered 500 through 999 are graduate level. Course numbers
preceded by a “»” are typically offered each academic year. Course numbers
followed by a “T” are taught to mixed classes of undergraduates and graduates.
Undergraduate students may register for graduate-level courses with the
instructor’s permission. Courses followed by a “*” are repeatable for credit.
Courses followed by a “**” are repeatable for credit if the topic has changed
(permission from Academic Advisor required).

COMPOSITION

»CMP 132 – Notational Techniques
This course will examine traditional and twentieth century conventions of Western music notation essential for the clear communication of musical ideas between contemporary composers and performers. Both handwritten and software-based notation techniques will be studied and the standards currently in place in the music publishing industry will be carefully observed. Relevant topics including part extraction, keyboard reductions, instrument specific indications and contemporary methods of representation such as graphic notation will be addressed through musical examples and written exercises. (2 credits) Mallia  

»CMP 411T – 16th-Century Counterpoint
Analysis of Lassus’s canons and two-voice motets; writing of compositions in that style. Readings in Pietro Aaron, Aldrich, Cook, and Wittkower. Prerequisite: THYU 102, 106. (3 credits) Davidson  

»CMP 412T – 16th-Century Counterpoint
Analysis and composition of motets and mass movements for three or four voices. Readings from Zarlino. Continuation of CMP 411T. Prerequisite: CMP 411T. (3 credits) Davidson  

»CMP 418T – Composition for Non-Majors
Introductory course in composition. Students will learn practical fundamentals of music composition: notation, instrumentation, and orchestration, as well as today’s principal compositional techniques.
(2 credits) Gandolfi  

»CMP 443T – Instrumentation and Orchestration
Demonstration of instrument categories and writing for individual instruments. Orchestrational analysis of 20th-century literature. Text: Samuel Adler’s Orchestration. Instructor’s permission required for nonmajors. (2 credits) Agócs  

»CMP 444T – Instrumentation and Orchestration
Intensive study of selected scores; composition of a short piece for small mixed chamber ensemble; preparation of scores and parts for in-class performances. Continuation of CMP 443T. Prerequisite: CMP 443T. (2 credits) Agócs  

»CMP 461T – Electro-Acoustic Music I
An introduction to the composition, techniques and theory of electroacoustic music. Participants will gain a technical understanding of the tools available to the electronic composer including digital audio recording, signal processing, synthesis and MIDI and will work hands-on in the electronic music studio to realize composition projects. Emphasis will be placed on learning to arrange and transform sonic materials in such a way as to result in structurally coherent electronic compositions. Considerations arising from the limitlessness of the medium will be discussed and a historical context will be provided. (2 credits) Mallia  

»CMP 462T – Electro-Acoustic Music II
Techniques explored in Electro-Acoustic Music I will be extended through an investigation of live applications of electronic music. Special emphasis will be placed on the combination of acoustic instruments and digital sound using realtime computer music systems. Students will learn to facilitate gestural communication between performer and machine through the creation and control of interactive listening/response environments. A concert of works composed by students of the class will take place during the semester. Prerequisite: CMP 461T. (2 credits) Mallia  

»CMP 463T – Composing for Film and Multimedia
This project-based course will introduce students to concepts, compositional strategies, and technologies associated with the combination of music, sound and image in Film. Stylistically diverse music by a variety of composers, taken from both historical and contemporary films, will be examined for its role in controlling the depth and speed of the viewer/ listener’s awareness of shifts in the underlying narrative thread and changes in the psychological make-up of characters. Students will receive regular critiques of composition projects requiring them to apply demonstrated concepts and techniques relating to, other collaborative multimedia settings including video, web-based art, performance, dance and immersive installation environments will also be studied. Sound/image timing and synchronization techniques, digital sound manipulation, MIDI instrumental mock-ups and synthesis will be demonstrated, practiced and utilized in scene-scoring and multimedia projects suitable for a composer’s portfolio. (Open to Composition and Jazz Composition Majors. Others, by instructor’s permission.) (2 credits) Mallia  

CMP 490 – Senior Review
See Undergraduate Composition program of study. (0 credit)  

CMP 515 – Composition and Tonality in the 18th and 19th Centuries
The study of tonality in Western classical music through analysis and writing of binary, ternary, sonata-allegro, rondo, and variation forms based on models from the Baroque, Classical, and early Romantic periods. (2 credits) Peyton  

CMP 516 – Composition and Tonality in the 18th and 19th Centuries
Continuation of CMP 515. Prerequisite: CMP 515. (2 credits) Peyton  

CMP 517 – Composition and Tonality in the 20th and 21st Centuries
The study of “tonality” in modern times: the return to modality, the use of hybrid and compound scale, the principle of displacement and crossrelations. Compositions in the style of Debussy, Stravinsky, Bartók, and other 20th-century masters. (2 credits) Peyton  

CMP 518 – Composition and Tonality in the 20th and 21st Centuries
Explores the styles of Prokofiev, Hindemith, Ives, Copland, Carter, Ligeti, Gubaidulina. Dictation and ear training. Composition of several short pieces in differing styles. Continuation of CMP 517. Prerequisite: CMP 517. (2 credits) Peyton  

»CMP 518T – Composition for Non-Majors
Graduate offering of CMP 418T. (2 credits) Gandolfi  

»CMP 543T – Instrumentation and Orchestration
Graduate offering of CMP 443T. Instructor’s permission required for non-majors. (2 credits) Agócs  

»CMP 544T – Instrumentation and Orchestration
Continuation of CMP 543T. Prerequisite: CMP 543T. (2 credits) Agócs  

CMP 551 – Introduction to Music Programming in MAX
This course will serve to introduce students to the basic elements and practice of music programming, using MAX/MSP music programming language. Developed in 1986 at the Institute de Recherché et de Coordination Acoustique/Musique (IRCAM) in Paris, MAX is an ideal music programming environment for composers, theorists and performers alike. Operating on both Windows and Macintosh platforms, MAX is a graphical programming language that invites the user to design music software by connecting together “ready made” musical objects onscreen. Using this intuitive flowchart language structure, students will quickly learn the substance and concepts of music programming, while at the same time, avoiding the lower level details of programming that encumber older computer languages. As the elements of the language are mastered, students will be encouraged to develop their own musical thinking towards a final project comprised of a MAX application, an active demonstration of their software, and a short description of their project. These final projects – which may take a range of different forms, including compositions, performance environments or theoretical tools – will serve to connect to the student’s personal musical goals to the practice and craft of music. (2 credits) Burdick  

»CMP 555 – Graduate Composition Seminar
Addresses topics important to composers. Instructor’s permission required for non-majors. (2 credits) Faculty  

»CMP 556 – Graduate Composition Seminar
Continuation of CMP 555. Instructor’s permission required for non-majors. (2 credits) Faculty  

»CMP 561T – Electro-Acoustic Music I
Graduate offering of CMP 461T. (2 credits) Mallia  

»CMP 562T – Electro-Acoustic Music II
Graduate offering of CMP 462T. Prerequisite: CMP 561T. (2 credits) Mallia  

»CMP 563T – Composing for Film and Multimedia
Graduate offering of CMP 463T (Open to Composition and Jazz Composition Majors. Others, by instructor’s permission.) (2 credits) Mallia  

CMP 593 – First-Year Graduate Review
See Composition program of study. (0 credit)  

»CMP 655 – Graduate Composition Seminar
Addresses topics important to composers. Prerequisite: CMP 556. (2 credits) Faculty  

»CMP 656 – Graduate Composition Seminar
Continuation of CMP 655. Prerequisite: CMP 556. (2 credits) Faculty 

2013-08-19


WITHOUT CRAFTSMANSHIP, INSPIRATION IS A MERE REED SHAKEN IN THE WIND. JOHANNES BRAHMS