Course Descriptions
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Composition
6CMP 101-102 (I, II -3) Seminar and Master Class in the Composition of Twentieth-Century Music I and II
Composition class including occasional private lessons and readings of compositional studies and pieces. Enrollment is reserved for freshman composition majors; others may enroll only by permission of the individual instructor or by departmental approval.
6CMP 103-104, 201-204 (I, II, S-3) Major requirement
Composition study in private, weekly lessons. Enrollment is reserved for composition majors; others may enroll only by permission of the individual instructor or by departmental approval.
6CMP 212 (I-3) Compositional Practice circa 1925 to 1955
Offered every other year starting with the fall term of 2006. A writing and analysis course dealing with compositional trends in Europe and America from about 1925 to 1955 as demonstrated in the works of significant twentieth-century composers such as Bartok, Berg, Babbitt, Messaien, Schoenberg, Stravinsky, Varese, Webern, and others. Class participation, three compositional projects, and a final exam are required. Intended for seniors and graduate students (graduate students should register for CMP 412); others by permission of the instructor. May be taken independently from CMP 213.
6CMP 213 (II-3) Compositional Practice circa 1955 to 1980
Offered every other year starting with the spring term of 2007. A writing and analysis course dealing with compositional trends in Europe and America from about 1955 to 1980 as demonstrated in the works of significant twentieth-century composers such as Adams, Boulez, Cage, Carter, Feldman, Ligeti, Penderecki, Reich, Stockhausen, Xenakis, and others. Class participation, two compositional projects, one aural report, and a final exam are required. Intended for seniors and graduate students (graduate students should register for CMP 413); others by permission of the instructor. May be taken independently from CMP 212.
6CMP 221-224 (I, II, S-2) Composition for Non-Majors
Composition study designed for students who are not composition majors. Teaching occurs through a combination of private lessons and class meetings, as appropriate. Open for enrollment by students of all majors.
6CMP 225, 226 (I, II-3) Introduction to Computer Music Techniques
Principles of digital (and analog) recording, editing, signal processing (sound manipulation), sound analysis, multi-tracking, mixing, synchronization and mastering; sound synthesis techniques; hardware and software synthesizer and sampler design; fundamentals of MIDI; MIDI and audio sequencing; interactive MIDI performance and compositional techniques; performance interfaces; music notation software; the repertoire of computer and electronic music. Class lecture/demonstrations are supplemented by weekly labs and culminate in student projects.
6CMP 240 (I-2) Computer Engraving and Other Forms of Calligraphy
This undergraduate course is open to all students and required of all undergraduate composition majors. It will teach the standard notation guidelines (score layout, cueing of parts, dynamic and articulation placements, stem length, placement of accidentals, placement and font size for all words on the score, etc.) such that students can prepare materials ready for publication. While this course will introduce students to the various popular notation programs, it will provide in-depth instruction about one engraving program, and it will include several calligraphy projects. Graduate students should enroll in 6CMP 440.
6CMP 244 (II, S-2) Choral Arranging
Introduces students to voice types and standard choral arrangements; provides opportunity for composing and arranging for various combinations of voice, either accompanied or unaccompanied.
6CMP 250 (II-2) Basic Orchestration
Basic Orchestration, CMP 250, introduces students to the instruments of the European orchestral tradition and to the basics of orchestrating for the woodwind, brass, and string sections of the modern orchestra.
Orchestration techniques will be studied through the examination of scores from the literature as well as through the creative application of writing skills. Prerequisite: TH 102.
6CMP 251 (I-2) Intermediate Orchestration
Intermediate Orchestration, CMP 251, introduces students to advanced techniques of instrumentation and orchestration in the context of chamber music. Writing assignments and projects will be either transcriptions of existing music or newly composed work. Prerequisites: TH 102 and CMP 250.
6CMP 252 (II-2) Advanced Orchestration
Advanced Orchestration, CMP 252, gives practice in writing for groups of instruments drawn from the contemporary orchestra, wind ensemble, and other established instrumental collections. The work will culminate with writing for full orchestra. Composition will figure prominently in the projects and assignments. Prerequisite: CMP 251.
6CMP 280 (I-2) Image, Movement, Sound
This seminar-level course, offered in alternate years, is co-sponsored and administered by the Eastman Computer Music Center, the School of Film and Animation of the Rochester Institute of Technology, and the Graduate Department of Dance at SUNY Brockport.
Lecture/demonstrations held alternately at all three schools during the first six weeks of the course are designed to provide all students with a practical working knowledge of current and experimental performance and production techniques in film and video, contemporary art music, dance and related arts. Lecture topics additionally include technical and aesthetic issues involved in combinations or these artistic media, and a critical survey of selected innovative multimedia works. During the second half of the course, students work jointly and individually, under faculty advisement, on creative or research projects involving combinations of image, movement and sound.
6CMP 291-298 (I, II-1) Composition Symposium (Undergraduate)
Composition Symposium is a forum for presentations by guest composers and other speakers; there are also presentations and discussions by the students enrolled in the class. In preparation for each class meeting, students will be expected to familiarize themselves with the available work of our guest composers, to attend student composition performances that are the basis for Symposium discussions, and to prepare adequately for any special topics discussion that may be part of the schedule.
6CMP 401 (I, S-3) Advanced Composition I
Intensive work in free composition for chamber groups and orchestra. Prerequisite: CMP 204.
6CMP 402 (II, S-3) Advanced Composition II
Continuation. May terminate with a master's thesis. Composition 401 and 402 may be repeated in the second year of the master's degree program. Prerequisite: CMP 401.
6CMP 412 (I-3) Compositional Practice circa 1925 to 1955
Offered every other year starting with the fall term of 2006. A writing and analysis course dealing with compositional trends in Europe and America from about 1925 to 1955 as demonstrated in the works of significant twentieth-century composers such as Bartok, Berg, Babbitt, Messaien, Schoenberg, Stravinsky, Varese, Webern, and others. Class participation, three compositional projects, and a final exam are required. Intended for graduate students (undergraduates should register for CMP 212); others by permission of the instructor. May be taken independently from CMP 413. Required for all Composition MM and MA students.
6CMP 413 (II-3) Compositional Practices circa 1955 to 1980
Offered every other year starting with the spring term of 2007. A writing and analysis course dealing with compositional trends in Europe and America from about 1955 to 1980 as demonstrated in the works of significant twentieth-century composers such as Adams, Boulez, Cage, Carter, Feldman, Ligeti, Penderecki, Reich, Stockhausen, Xenakis, and others. Class participation, two compositional projects, one aural report, and a final exam are required. Intended for graduate students (undergraduates should register for CMP 213); others by permission of the instructor. May be taken independently from CMP 412. Required for all Composition MM and MA students.
6CMP 421, 422 (I, II, S-3) Advanced Computer Music Techniques
An intensive survey of advanced software-based techniques of digital recording, editing, synthesis, analysis and resynthesis, signal processing, mixing, spatial localization, ambience and movement, and current developments in the field. Class lecture/demonstrations are supplemented by weekly labs and culminate in student compositional projects. Pre-requisite: CMP 225-6 or equivalent.
6CMP 440 (I-2) Computer Engraving and Other Forms of Calligraphy
This graduate course is open to all students. It will teach the standard notation guidelines (score layout, cueing of parts, dynamic and articulation placements, stem length, placement of accidentals, placement and font size for all words on the score, etc.) such that students can prepare materials ready for publication. While this course will introduce students to the various popular notation programs, it will provide in-depth instruction about one engraving program, and it will include several calligraphy projects. Undergraduate students should enroll in 6CMP 240.
6CMP 491-494 (I, II-1) Composition Symposium (Graduate)
Composition Symposium is a forum for presentations by guest composers and other speakers; there are also presentations and discussions by the students enrolled in the class. In preparation for each class meeting, students will be expected to familiarize themselves with the available work of our guest composers, to attend student composition performances that are the basis for Symposium discussions, and to prepare adequately for any special topics discussion that may be part of the schedule.
6CMP 495 (I, II, S-credit to be arranged) M.A. Thesis
For the Master of Arts degree.
6CMP 496 (I, II, S-credit to be arranged) M.M. Thesis
For the Master of Music degree.
6CMP 501, 502 (I, II, S-3) Advanced Composition
Free composition, with emphasis on works for orchestra. Limited to candidates for the doctorate in composition. These courses may be repeated for additional credit. Prerequisite: CMP 402.
6CMP 591-592 (I or II-3) Composition Research Seminar
Seminars on selected topics. Research and class discussion will focus on technical, structural, analytical and aesthetic issues salient or unique to the selected repertory under examination - the music of our own time. Permission of instructor required.