Spring 2019
Wed 2-4:50pm
CPMC 145 ndiels(at)ucsd(dot)edu
This is the final step in a 3-course sequence for composition majors. 33C covers current trends in contemporary composition, through the lens of notation, practice, and analysis. Learning through performance is an important element of this course, as is acquiring a basic and general familiarity with electronics. Topics discussed include non-instrumental music, voice/text as instrument, found objects and sounds in composition, breaking the composer/performer dichotomy, improvisation, and musical theatre.
You will have a variety of assignments— short compositions which we will perform in class, written reflections on reading assignments, and your final project. Assignments count 25% toward your grade, participation counts 25%, attendance counts 25%, and your final project counts 25%. Grades are posted through TritonED (http://ted.ucsd.edu).
Your final project is a composition. You must include at least three elements from the topics covered in class. The final performance takes place on Wednesday May 29 at 3pm.
Syllabus
Week 1: Course overview, student discussion, Noise.
Listening: Onkyo (Sachiko M), Merzbow, John Cage
Reading: The Art of Noise (Luigi Russolo), The Future of Music: Credo (John Cage). Suggested but optional: Sketch of a New Aesthetic of Music (Ferrucio Busoni), The Aesthetics of Noise (Torben Sangild)
Assignment: Reading and written reflection on reading
Week 2: Voice/text as instrument
Listening: Louis d’Heudieres, Antonia Barnett-McIntosh & Emma Bennet, Chris Mann, Sam Scranton, Kate Soper, Joanna Baillie, Yoko Ono, Shelley Hirsch
Performing: Do You Be (Bryan Jacobs), Declaration (Carolyn Chen)
Assignment: Vocal composition
Week 3: Music Theatre (1)
Listening/viewing: Steven Takasugi Sideshow
Performing: Assignment from previous week
Reading: FOTODEATH (Claes Oldenburg), Why Theatre? (Steven Takasugi)
Assignment: Reading and written reflection on reading, concert piece idea
Week 4: Music Theatre (2)
Listening/viewing: Jennifer Walshe EVERYTHING IS REAL
Private meetings
Assignment: Individual assignments, watch Improvisation as a Way of Life (George Lewis). Written reflection on viewing.
Week 5: Improvisation, non-specific notation
Listening: Andrew Greenwald, Julius Eastman, George Lewis, Anthony Braxton
Activity: Speed composition
Performing: Braxton conducted improv, speed compositions
Assignment: Individual assignments
Week 7: Intro to Electronics, found objects/sounds, drone music (ita)
Listening: Matthew Shlomowitz, Alvin Lucier, Maryanne Amacher, Eliane Radigue, Pauline Oliveros
Activity: Sound scavenger hunt
Performing: Meredith Monk Panda Chant
Week 7: Final concert workshop/rehearsals
Week 8: Final concert workshop/rehearsals
Week 9: Final Concert, 3pm Concert Hall. Crit session follows.
Week 10: NO CLASS
Week 1: Intro/Noise
Assignment 1
Read The Future of Music: Credo and The Art of Noises (linked below) and write a one-page response on the Discussion Board on TritonEd. Due Tuesday April 9 11:59pm
Methods for Listening
Reading: The Art of Noise (Luigi Russolo)
The Future of Music: Credo (John Cage)
Optional: Sketch of a New Aesthetic of Music (Luigi Russolo)
The Aesthetics of Noise (Torben Sangild)
Scores:
Ligeti Atmosphères Varèse Ionisation
Links to pieces listened to in class:
Henry Cowell: The Tides of Manaumaun Edgard Varèse: Ionisation
Ligeti: Atmosphères (listen via UCSD library)
Pierre Schaeffer: Études de Bruit
Marianthi Papalexandri-Alexandri: Motors and Resonant Bodies
Sam Pluta: Broken Symmetries
Sachiko M/Otomo Yoshihide/Toshi Nakamura: Good Morning
Yasunao Tone: Solo for Wounded CD
Week 2: Voice/Text
Assignment 2
Make a vocal composition that is no longer than 5 minutes. You will be working with a partner-- learn about your partner's voice and performative preferences, and compose accordingly. You will each write a composition-- the composition can be for both of you, for your partner alone, or for your partner and additional students. In the last case, the part for the additional students must be sufficiently simple to perform in class next week without rehearsal (a brief instruction session is acceptable).
Reading:
Carolyn Chen: Spin Straw. Or, This is Not a Revolution
Peter Ablinger: note on Voices and Piano
Chris Mann: Interview with Preston Wright
Scores:
Bryan Jacobs: Do You Need, Do To Me, 18 Me, 18 Mean
Natacha Diels: Bahnhof
Carolyn Chen: Declaration
Chris Mann: Lyrics from Chris Mann & The Use
Shelley Hirsch: Script for O Little Town of East New York
Yoko Ono: Pages from Grapefruit
Links to pieces listened to in class:
Shelley Hirsch: Haiku Lingo
Chris Mann: Chris Mann & The Use (must listen through UCSD)
Bryan Jacobs: Do You Need, Do To Me, 18 Me, 18 Mean
Natacha Diels: Bahnhof
Louis d'Heudieres: Laughter Studies 3
Joanna Baillie: Artificial Environment #8: Babel
Sam Scranton: All is Always
Peter Ablinger:
Cecil Taylor (from Voices and Piano)
Speaking Piano (constructed by Winfried Ritsch)
Week 3: Musical Theatre (1)
Assignment 3
Part 1: Read 'FOTODEATH' and 'Why Theatre?' and write a one-page response on TritonEd. Part 2: Write a one-page concert proposal. Include a concept, a possible instrumentation or number of performers, and a duration. Due MONDAY April 22 by 11:59pm.
Steven Takasugi: Sideshow
Links to pieces not listened to in class (recommended viewing/listening):
Jessie Marino: Rotblau
Mauricio Kagel: Match
Robert Ashley: Automatic Writing
Natacha Diels: 2.5 Nightmares for Jessie
Readings (required): FOTODEATH (Claes Oldenburg)
Why Theatre? (Steven Takasugi)
Week 4: Music Theatre (2)
Assignment 4
Watch Improvisation as a Way of Life (linked below) and write a one-page response on the Discussion Board on TritonEd. Complete your individual assignments. Due Monday April 29 11:59pm
George Lewis: Improvisation as a Way of Life
Week 5: Improvisation/Aleatoric Writing
Julius Eastman Gay Guerrilla
Julius Eastman opening comments at Northwestern University (1980)
Terry Riley in C
Score || Performance Instructions Butch Morris
Gestures and description [from Thomas Stanley]
Andrew Greenwald [99 Words]
Score
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