Workshop in composition techniques, exploring use of styles and devices of contemporary art music.

Credits: 1
Prereq: Rudimentary music skills; Coreq: MUT 1121, Theory of Music 1. Required for all majors in theory/composition.

Required Texts:

(available online via numerous vendors)


	Duckworth, William. Talking Music: Conversations with John Cage, Philip Glass, Laurie Andreson and Five Generations of American Experimental Composers. (DaCapo Press, 1999). ISBN: 0306808935 [amazon.com] [barnesandnoble.com]
	Cope, David. Techniques of the Contemporary Composer. (Wadsworth Publishing, 1997). ISBN: 0028647378 [amazon.com] [barnesandnoble.com]

High quality music manuscript paper
Soft lead pencils, No. 2 or softer
Zip Disks for personal back-up of Finale files...very, very important!

Grading:

20% Class Participation & Studio Presentation (see Remember #4)
25% Composition Assignments/Projects
10% Small Concert Presentations
15% Listening Reports
5% Bibliography
25% Final Project

Policies:

1) All listening selections are from the Music Library Listening Area; please plan your time accordingly. A lack of planning on your part does not necessarily constitute an emergency on the part of the library support staff.

2) Late work is not accepted.

3) All projects are cumulitive.

4) Attendance is required at all classes. Should a class be missed, it is the student's responsibility to see the lecture notes from the missed class are obtained from a classmate and any work assigned is completed by their return (a class list will be supplied to help facilitate this policy). After three (3) class absences your grade will be lowered one grade increment for each absence after three (ie A to B+, or C to D+). Your grade will be lowered one grade increment for each Unbalanced Connection concert missed. Eached missed concert or presentation will also result in a reduction in your grade by one increment.

5) Plan early for your final project...things have a way of happening at the last minute.

6) The requirements, emphasis, and timing of this course may be changed or adjusted to meet the specific needs of the class as determined by the instructor.

7) All students of The University of Florida are expected to conduct themselves in a reasonable and professional manner at all times as described in the Student Honor Code; please refer to The Code for specifics.

8) UF Software Copyright Policy: All faculty, staff and students of the University of Florida are required and expected to obey the laws and legal agreements governing software use. Failure to do so can lead to monetary damages and/or criminal penalties for the individual violator. Because such violations are also against the University policies and rules, disciplinary action will be taken as appropriate.

9) UF Counseling Services - Resources are available on-campus for students having personal problems or lacking clear career and academic goals which interfere with their academic performance.

These resources include:
1.University Counseling Center, 301 Peabody Hall, 392-1575, personal and career counseling;
2.Student Mental Health, Student Health Care Center, 392-1171, personal counseling;
3.Sexual Assault Recovery Services (SARS), Student Health Care Center, 392-1161, sexual assault counseling;
4.Career Resource Center, Reitz Union, 392-1601, career development assistance and counseling.

11) My office door is always open; please feel free to drop by to discuss class issues as the need arises.

Grading Scale:

A	100-93%
B+	92-90%
B	89-85%
C+	84-82%
C	81-77%
D+	76-74%
D	73-69%
E	68-0%

• Introduction

Cope: Ch. 1: Basics, pp. 1-11

• Experimentalists

Duckworth: Ch. 1: John Cage, pp. 3-28

- Compose 1, solo instrument composition utilizing given motive

• The Tonal Legacy

Cope: Ch. 2: The Tonal Legacy, pp. 12-25

- Compose 2, solo instrument composition utilizing given motive for "Compose 1" in oposing style
- Analyze 1, basic tonal musical passage assigned in class

• Melody

Duckworth: Ch. 2: Conlon Nancarrow, pp. 29-51

Cope: Ch. 3: New Roles of Melody, pp. 26-37

Week 5

• Harmony, Counterpoint, and Hierarchy

Duckworth: Ch. 3: Milton Babbitt, pp. 52-93

Cope: Ch. 4: Harmony, Counterpoint, and Hierarchy, pp. 38-45

- Analyze

Duckworth: Ch. 4: Lou Harrison, pp. 94-120
- Compose

Week 9

- Finale, complete notation of first composition (due Wed.)

• The Avante-Garde

Duckworth: Ch. 5: Ben Johnston, pp. 121-158

• Interval Exploration

Cope: Ch. 5: Interval Exploration, pp. 46-57

Duckworth: Ch. 6: Pauline Oliveros, pp. 159-178
- Analyze

Week 14

Duckworth: Ch. 7: Christian Wolff, pp. 179-208
- Compose

- Finale

- Presentation, a final show case concert will be given by the class to present the semester's projects

- Finale

COMPOSITION ASSIGNMENTS/PROJECTS: The composition assignments will be handed in by the due date in computer notation (Finale) and bound for professtional presentation. Class projects could be, for example, the presentation of a contemporary composition recording (written within the last 30 years) at the beginning of each class.

SMALL CONCERT PRESENTATION: A composition is not "finished" until it is presented in concert. Each composition assignment will be presented by the class in a concert setting. The class members will organize an organizational structure that will produce a program and flyer/poster for each of the concert presentations. The class is encouraged to find alternative spaces appropriate to the assignment/project for the presentation concert.

BIBLIOGRAPHY: Each student will choose a contemporary composer, born not earlier than 1950, and compile a bibliography/discography of the composer's works.

FINAL PROJECT: Creative work to demonstrate understanding and application of principles discussed and experienced during the course of the semester. The final project will be presented during the final examination time for the course. All final projects will be considered for performance a the SCI Student Chapter concert.

SCI REGIONAL CONFERENCE: A regional conference will be held this semester at Winthrop University in Rock Hill, SC, Nov. 11-13, 2004. I would encourage all of you to attend if at all possible.

UNBALANCED CONNECTION CONCERTS: All students are required to participate in the UnBalanced Connection concerts on Sept. 17, 2003, Friday, Oct. 15, 2003 and Friday, Nov. 19, 2004 (SEAMUS EA Month) at 7:30p. Students are encouraged to have compositions presentable for performance on one or more of these concerts. All students are required to set-up, attend, and tear-down for each of these concerts (set-up usually begins at 4:30p on the concert day). The concerts will be held in MUB 120. Please clear your schedules early to avoid a conflict.

COMPOSITION STUDIO: All students studying composition at the University of Florida, as a major or non-major, must attend and participate in the Composition Studio. The studio meets every Monday during the 4:05 hour starting the second week of class. Each student is required to present on at least one studio meeting. Less experienced composers may wish to share a session with another composer. All topics music be approved by Dr. Sain at least two week prior to the presentation date. Dr. Sain must also be given a title for the presentation for the presentation when approval is requested.

SAFETY HINT: Always keep several back-up copies of your Finale files on multiple media; if you have a personal computer you may wish to keep one copy on your personal hard-drive.