Music311.31• MusicComposition&Arranging ProvidenceUniversityCollegeTuesdays&Fridays3:20-4:35 3Credithours Winter2016Instructor:Dr.KarenSunabacka Email:karen.sunabacka@prov.ca Phone:(204)433-7488ext.271Office:1F-15 OfficeHours:Mon&Wed1-3:15,Tues&Fri2:00-3:15

Syllabus

A. CourseDescription

Anexplorationofmusicarrangingandcomposition.Studentswilllearntocomposeandarrangefororchestralinstrumentsalongwithguitar,pianoandvoice.Eachstudentwillcomposeandarrangemusicfordifferentensemblesincludingchoralensembles,classicalinstrumentalensembles,rockmusicensemblesandworshipbands.Studentswillalsobeintroducedtomusiccomputersoftwareformusicnotationandrecording.(Prerequisite:311.11–MUS:MusicTheoryIand311.15–MUS:MusicianshipI)

B. CourseObjectives

Duringthecoursethestudentswillbeintroducedtodifferenttechniquesofmusicalcompositionandarranging.Theywilllearntherangesoforchestralandnon-orchestralinstrumentsandthedifferentwaysthattheseinstrumentscanbeusedindifferentcontemporarymusicalgenres.Theywillalsolearnhowtowritefortransposinginstrumentsandchordinginstruments.Throughaseriesofassignments,studentswillcomposeoriginalpiecesandarrangeexistingpiecesfordifferentgroupsincludingorchestra,popularbands,worshipbands,choralensemblesandinstrumentalensembles.Bytheendofthecourse,studentswillhavethetoolstoarrangeandcomposemusicformanydifferentensembles.

C. CourseText&Materials

Required:Blatter,Alfred.InstrumentationandOrchestration,2ndEditionOptional: Kostka,StefanMaterialsandTechniquesofTwentieth-CenturyMusic.

D. GradingSummary

Weeklyassignments(10intotal) 50%FinalProject 20%FinalExam 20%Attendance/Participation 10%

NumericalGradeEquivalentsA+=97-100 B+=87-89 C+=77-79 D+=65-69 F=0-54 A=93-96 B=83-86 C=73-76 D=60-64A-=90-92 B-=80-82 C-=70-72 D-=55-59

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E. CourseRequirementsWeeklyAssignmentsTherewillbeatotalof10weeklyassignments.Eachassignmentwilladdressadifferentaspectofmusicalorchestration,compositionandarranging.Thestudentswillberequiredtosubmitgoodcopiessometimesbyhandandothertimestheuseofcomputernotationsoftwarewillberequired.FinalProjectThefinalprojectgivesthestudenttheopportunitytocreatealargerpieceforaProvidenceEnsemble.Therewillbeafewchoicesforthisproject,howeverallpieceswillbeperformedinclassonthelastdayandifyouwant,youcancompletetheassignmentearlierandhaveitperformedduringaSoundbitesafternoonrecitaloraManytoneseveningconcert.FinalExamTheexamwillbedividedintotwoparts.Thefirstwilltesttechnicalknowledge-rangesofinstrumentsandvoices,transposinginstruments,alongwithanarrangementofapiece.Thesectionpartwillbealisteningsectionwherestudentswillberequiredtorecognizedifferentensemblesandinstrumentsthroughlistening. PLEASENOTE:Allrequeststohaveafinalexamrescheduledmustbeapproved

bytheAcademicCommitteeinaccordancewiththeEarlyLeavePolicy(availableintheCollegeAcademicCalendar).

F. CoursePolicies

Fulltexttotheacademicpolicies,proceduresandregulationsofProvidenceUniversityCollegecanbefoundonlineintheStudentHandbook:(http://www.providenceuc.ca/resource/file/student_life/7_15%2BStudent%2BHandbook_3_compressed.pdf)andtheCollegeAcademicCalendar:(http://www.providenceuc.ca/college/registrars_office/calendar/).ClassparticipationandAttendanceIexpecteachstudenttobepreparedtoparticipateineachandeveryclass.Iwillbekeepingtrackofattendanceandparticipationinclass.ParticipationandAttendanceinclassisworth10%ofyourgrade.IfyoumissmorethanthreeclassesyourgradeWILLbeaffected.LateAssignmentpolicyIfyouareillonthedayofanexam,quiz,orpaperdeadline,youmustinformDr.KarenSunabacka(viaemailorphone)ofyourabsenceBEFOREtheclassbegins.Pleaseidentifyyourself(nameandclass)whendoingso.Studentsareheldresponsibleonthedaytheyreturnforanyworkmissedduringanabsence.WrittenworkandquizzesMUSTbemadeupwithinaweekofreturningorthegradewillconverttoazero.Itistheresponsibilityofthestudenttosetupatimewiththeinstructortomake-upforamissedquiz.

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PlagiarismIssuesofacademicintegritywillbedealtwithaccordingtothepoliciesoutlinedintheAcademicConductsectionoftheStudentHandbook(http://www.providenceuc.ca/resource/file/student_life/7_15%2BStudent%2BHandbook_3_compressed.pdf)Studentsarestronglyencouragedtofamiliarizethemselveswiththepoliciesandwiththeconsequencesattachedtotheirviolation.

LaptopsandotherelectronicdevicesStudentuseofinformationandcommunicationtechnologiesforpurposesotherthanclassnote-takingisnotallowedintheclassroom,asstudentsareexpectedtogivetheirtotalattentiontoclassactivities.Useofcell-phonesoriPodsisneverappropriateintheclassroom,anduseoflaptopcomputerstoplaygames,chatwithothers,browsetheinternet,orengagematerialnotrelatedtotheclassisalwaysdistractingtoclassmatesanddisrespectfultotheinstructor.Unlikesomeotherpost-secondaryinstitutions,Providencehasnotyetfounditnecessarytobanlaptopsfromtheclassroom,orpreventwirelessinternetaccessinclassrooms.Onlyjudicioususeofthemwillkeepitthatway.IfyouchoosetotakenoteswithyourlaptopIwillaskyoutoemailmeyouclassnotesattheendofeachclass.

PLEASENOTE:TheVoluntaryWithdrawaldateisMarch11,2016(Thisisthelastdaytowithdrawfromthecoursewithoutacademicpenalty.)

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G. Course Outline, Reading Assignments and Homework Date Topics and Activities Assignments Due

T 12 Jan Introduction to Course and Computer Music Programs (Finale)

F 15 Jan NO CLASS (KS Away) T 19 Jan Preparing Scores and Parts:

Orchestral Instruments vs “Bands” ! READ: Blatter - Ch. 1

F 22 Jan The Orchestral Strings ! READ: Blatter - Ch 2

Assignment 1: Ch 1 - # 6 (pp15-16) (handwritten copy & Finale copy)

T 26 Jan NO CLASS Day of Prayer F 29 Jan The Orchestral Strings

! READ: Blatter - Ch 2 & Ch 9 pp 356-363

T 2 Feb The Woodwinds

! READ: Blatter - Ch 3 Assignment 2: Ch 2 - #’s 19, 20 (p 73)

F 5 Feb The Woodwinds ! READ: Blatter - Ch 3 & Ch 9

pp363-365

T 9 Feb The Brasses

! READ: Blatter - Ch 4 Assignment 3: Ch 3 - #25 (p 115) & #29 (p 133) and PARTS for #29

F 12 Feb The Brasses ! READ: Blatter - Ch 4 & Ch 9

pp 365-373

T 16 Feb Composition Techniques

READ: Kostka - Ch 10-15 Assignment 4: Ch 4 - # 35 for Bb trumpet (p 168) & # 43 (p 187)

F 19 Feb Composition Techniques – Electroacoustic music READ: Kostka – Ch 10-15

T 23 Feb Composition Techniques

READ: Kostka - Ch 10-15 Assignment 5: Composition Assignment 1?

F 26 Feb Compositions Tech: Improvisation GUEST: CLEO Palacio-Quintin

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T 1 Mar The Percussion

! READ: Blatter – Ch 5 Assignment 6: Composition Assignment?

F 4 Mar The Percussion ! READ: Blatter - Ch 5 & Ch 9

pp 374-382

T 8 Mar No Class – Reading Break F 11 Mar No Class – Reading Break T 15 Mar Other Instruments

! READ: Ch 6

F 18 Mar Other Instruments ! READ: Ch 6

Assignment 7: Ch 5 - #47 (p241)

T 22 Mar Composing, Transcribing and

Arranging for Various Ensembles ! READ: Blatter - Ch 8 & 9

Assignment 8: Ch 6 - #49 (p 303-304)

F 25 Mar No Class – Good Friday F 16 Nov Composing, Transcribing and

Arranging for Various Ensembles ! READ: Blatter - Ch 10 - 12

T 29 Mar The Voice

! READ: Blatter - Ch 7 Assignment 9: Arrange or Transcribe for small ensemble. Your choice from ch 9-12

F 1 Apr The Voice ! READ: Blatter – Ch 7 & Ch 9

pp382-384

T 5 Apr Composing and Arranging for

Bands (Rock and Worship Bands) Assignment 10: # 52-54 (p327-328) or #65-66 (p383-384)

F 8 Apr Composing and Arranging for Bands (Rock and Worship Bands)

T 12 Apr The Singer/Songwriter Assignment 11: Arrange a piece for

Worship Band? F 15 Apr Presentations and Performances Final Project:

Your choice of ensemble and project, however it must be performable in class on this day.

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Bibliography Alexander, Peter L. Electronic Arranging & Orchestration. Newbury Park, California: Peter L.

Alexander, 1991. Baloche, Paul, Jimmy Owens and Carol Owens. God Songs: How to Write and Select Songs for

Worship. 1st ed. Lindale, Texas: Leadworship.com. 2004 Bradley, Jack. How to read, write, and understand music. South Charleston, WV : Hill Springs

Publications, c1986 Dallin, Leon. Techniques of Twentieth Century Composition. Dubuque, Iowa: W. C. Brown Co,

1964. Gridley, Mark C. Jazz Styles: History and Analysis. 4th ed. Upper Saddle River, New

Jersey: Pearson Education, 2003. Grove, Dick. Arranging concepts complete: the ultimate arranging course for today’s music.

Sherman Oaks, CA: Alfred Pub. Co., [1985?], c1972 Kirchner, Bill. The Oxford Companion to Jazz. Oxford, New York : Oxford University Press,

2000.

Kostka, Stefan M. Materials and techniques of twentieth-century music. Englewood Cliffs, N.J. : Prentice Hall, 1990.

Leppert, Richard D. and Susan McClary. Music and Society: The Politics of Composition,

Performance and Reception. Cambridge [Cambridgeshire]; New York : Cambridge University Press, 1987.

Mann, Alfred. Theory and Practice: The Great Composer as Student and Teacher. New York : Norton, c1987. Morgan, Robert P. Twentieth-Century Music: A History of Musical Style in Modern Europe

and America. New York: W.W. Norton, 1991. Ostrander, Arthur E. and Dana Wilson. Contemporary Choral Arranging. Englewood Cliffs, N.J:

Prentice-Hall, c1986 Papale, Henry. Art, not chance: essays on composition, music education, aesthetics of music.

[s.l.] : Henry Papale, 1985. Roads, Curtis. Composers and the computer. Los Altos, Calif. : W. Kaufmann, c1985. Schoenberg, Arnold and Gerald Strang. Fundamentals of Musical Composition. New York: St.

Martin’s Press, 1967.

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Szatmary, David P. Rockin’ in Time: A Social History of Rock-and-Roll. 5th ed. Upper

Saddle River, New Jersey: Prentice Hall, 2000. Taruskin, Richard. The Oxford History of Western Music. 6 vol. New York: Oxford

University Press. 2005. Wilson, Harry Robert. Choral arranging for schools, glee clubs and publication; a complete

guide for the problems of choral arranging for all types of voice combinations and for all kinds of choral groups in schools, churches, communities, or professional organizations. New York: Robbins Music Corp, 1949.