CMPO301

S Y LLA B US 2 01 9

INTRODUCTION

This course will reinforce and develop the fundamental technical and practical skills necessary
to compose substantial and cohesive notated works on the order of 4–6 minutes long.
The main concepts behind this class can be summarised in the following keywords:

PLAY, FLUX, FLOW, COLOUR, DRAMA, and FASI (to be explained!)

We will be learning how to put these concepts into practice by:

a) clearly defining them and identifying them in existing works;
b) analysing their impact on the listening experience through score study and group listening/
analysis;
c) participating in supervised, in-class composing workshops/labs, that will help develop our
intuition and understanding of these concepts.
My main hope is that by the end of this course, you will be creating works that have an
immediate impact on the audience — that is, you draw them into your sonic universe from the
very first gesture, and keep them immersed and engrossed throughout.
There will also be detailed lectures that focus on other compositional issues, such as how to
build coherence and consistency through developmental procedures, how to form compelling
tensional arcs, and how to create rhythmic and phrasal flow that pushes and pulls the listener’s
sense of time and emotion. We will also discuss broader aesthetic, critical and analytical
concerns. Active-learning score-analysis activities and listening sessions will support the
primary assessment: the realisation of two medium-scale (4–6 minute) projects.
During class, and in journals, we will critically reflect on not just what we compose, but how
we compose — in other words, we will ask ourselves to articulate our creative process, and to
assess whether the process is serving us well. This is because many compositional issues arise
not so much from a lack of ideas or technical ability, but because the process by which we write
music may not be structured so as to encourage desirable musical features.
To that end, I will be espousing certain principles that I hold dear:

1) active and rigorous ‘play’, through constant sketching and development of ideas
2) the important role of revision in shaping a work
3) the importance of regularity and routine in compositional activity
4) the tactility and freedom of pencil and paper
5) the importance of developing and trusting your inner ear
6) an awareness of the negative effects of over-reliance on computer playback
7) the benefits of working with instruments/performers during composition
8) reading and listening as widely and regularly as possible
9) an awareness of and interest in multiple forms of contemporary arts practices
10) regular composition ‘exercises’ as a way of developing fluency and intuition.

These principles are not mandatory. They are not assessable, in and of themselves. But in
examining the compositional processes of many established, prominent composers, I see again
and again that these principles form the bedrock of their compositional practice, yet are often
absent from the practices of student composers. It is never too late to develop these habits and
approaches as part of your own compositional process.


CMPO301 SYLLABUS 1
MENTAL HEALTH ISSUES IN COMPOSERS

I know from my own experience that long-form composition can be a difficult and draining
process. It’s all too easy to get ‘lost’ in the work, and this sense of disorientation feeds your own
self-doubt and creative blockage. And the longer the work, the more likely — inevitable, even —
that this is to happen. It is almost guaranteed that at some point in composing a long work you
will succumb to the ‘imposter syndrome’ (“I’m not really a composer” says your inner voice).
But you should take some comfort in knowing that most composers (myself included) have to
deal with this unwanted internal monologue on a regular basis. Only by increasing your
experience (by continuing to pursue performance opportunities), developing an awareness of
your ability to harness your craft and technique to push through these barriers, and talking to
others (professionals if necessary) can you begin to stave off destructive self-criticism.
I am therefore extremely aware of, and empathetic to, the impact that these challenges can
have on the creative process and on your ability to function at university, especially in such a
personal, creative field as composition, and in a course where I will be challenging your
fundamental understanding of music while simultaneously assessing your work.
Because my greatest desire is that all my students will begin to develop resilience, self-
awareness and self-confidence, I will also be available in a mentoring or ‘counselling’ role —
in other words, to help you deal not just with purely compositional matters, but also with the
psychological aspects of composing. You have my promise that I will never be judgemental or
critical if you are facing these problems, that I will never feel you are ‘letting me down’, and that I
will always be ready to talk about it in private, or together with a support person, at any time. I
am usually generous with extensions, and I am good at providing practical suggestions on ‘ways
out’ when you find yourself in a hole. I do ask you, however, to promise the following:
1) That if you find you are having difficulties meeting a deadline, you will contact me before the
deadline.
2) That if you get stuck in a ‘creative hole’, you will talk to your friends/whānau group, or make
an appointment with me to discuss possible solutions/strategies for overcoming the block.
3) That you will understand that everyone gets self-doubt and imposter syndrome — these are
just a regular part of composers’ experiences. You are not alone.
4) That you will recognise that while controlled self-critique is an important part of any artistic
endeavour, you will recognise when your internal monologue moves beyond healthy
criticism into unhealthy territory (i.e. when it moves from critique about the music into
critique about you), and will talk to friends/lecturers when this happens.
5) That you will take comfort in the fact that composers are rarely completely happy with their
work; there is always something we could have done better. But we can only learn to
improve by keeping doing. It is better to do something and not be entirely happy with it, than
to discard your work because you do not feel it is perfect. Creativity should be the joy of
constant play and excitement of ideas (with some hard technical slog mixed in), not some
unhealthy, obsessive search for complete perfection.
6) Finally, that if you do recognise that your doubts/self-criticism/mental health are becoming
overbearingly dark to the point where they are affecting your work on an ongoing basis, you
will seek professional help. You will also promise to contact me in this case to discuss
solutions — I’m good at helping people find their ways forward, and am often generous with
extensions. And remember that, if things get really bad, it is not the end of the world to take
time off from university and try again later — there is nothing to be gained from trying to
rush through an undergrad degree while feeling stink the whole time.

CMPO301 SYLLABUS 2
EXPECTATIONS

ATTENDANCE A professional attitude is expected at all time. A roll will be taken

5 minutes after the scheduled start of class. If you are not
present, an absence will be noted, and I will contact you directly
if I see you are failing to attend class regularly and ask you to
explain your absence. You are also expected to be punctual and
prepared for any individual supervision meetings. You are
expected to bring work-in-progress with you, and I have the
right to refuse a meeting if you have not brought anything. It is
also hoped you will actively contribute to class sessions.

DEADLINES In order to meet assignment deadlines, you will need to plan

your workload and continuously monitor your progress, while
reducing procrastination and other avoidance techniques. If you
are having problems, be honest with me — I can help suggest
strategies for overcoming creative blocks. If it looks like you will
have difficulty meeting a deadline, please contact me before the
deadline. I will not give any retrospective extensions.

NOTATION/PRESENTATION As you are now in the third year of studies in composition, it is

expected that your scores will be presented professionally. This
means that I will rigorously critique the presentation of your
scores, and notational quality will be a strong factor in the
grading. Ensure that you have read and absorbed everything in
the NZSM Guide to Notation (available from Blackboard). This
document will be useful not just at the NZSM, but in your
composition career beyond the school. It also ensures that
rehearsals are not marred by performer questions and
confusion.

PERFORMANCES I will provide you with a list of performance opportunities

available at the NZSM and beyond. It is strongly encouraged
that you compose your major compositions for one of these
ensembles, because there is a strong likelihood of a
performance/readthrough. Although I cannot force you to have
a composition performed, if you do not take advantage of the
available performers/ensembles or arrange a performance of
your piece, you are really missing one of the most important
learning opportunities in composition.

LABS During the writing labs, please bring the following items:

— Manuscript sketchbook (we will make these in the first lab)

— Retractable pencil & leads (I recommend Staedtler pencils
with Staedtler 0.5mm 2B leads)

— Eraser (large)

— Ruler (30cm)

WHĀNAU/FACEBOOK While composing is often a solitary activity, It is extremely

important that you support each other through the journey of
this course. As such, I strongly suggest that you form a ‘study
group’ or ‘whānau’ that meets informally on a weekly basis to
compare notes, look over compositions, and complete weekly
writing exercises. A Facebook group has also been set up for
your informal communication.


CMPO301 SYLLABUS 3
ASSESSMENT & MANDATORY REQUIREMENTS

Please note you are required to attend 9 out of 12 Composer Workshops in this trimester in order
to pass this course. A roll will be taken.

A word of advice: students often overwrite their minor assignments, ending up with 5-minute
pieces that take far longer than the weighting is worth. I will be prioritising detail, quality and
attention to the brief over duration. I would rather hear a short, finely crafted, well-directed
miniature than an overlong, meandering ‘noodle’.

Item Weighting CLOs Due date

Project proposal & precompositional portfolio for 5% 2, 3 27 March 2019

Major Assignment 1 (c. 5–6 pages)

Minor assignment 1 (c. 2 minutes) 10% 4 3 April 2019

Minor assignment 2 (c. 2 minutes) 10% 4 1 May 2019

Major assignment 1 (c. 4–6 minutes) 25% 1, 2, 3 8 May 2019

Project proposal & precompositional portfolio for 5% 2, 3 15 May 2019

Major Assignment 2 (c. 5–6 pages)

Minor assignment 3 (c. 2 minutes) 10% 4 22 May 2019

Critical journal (6 entries of no more than 500 words 10% 2, 3, 4 5 Jun 2019
each)

Major assignment 2 (4–6 minutes) 25% 1, 2, 3 21 Jun 2019

CMPO301 SYLLABUS 4
LECTURE SCHEDULE

WEEK MONDAY (2 hr) WEDNESDAY (1 hr)

Introduction to course
Lecture 1: DRAMA, COLOUR, FASI Writing Lab 1
1
Toru Takemitsu: Rain Spell for ensemble SKETCHING, REWORKING, DRAMA, FASI
Kaija Saariaho: Noanoa for solo flute

Lecture 2: PLAY, FLOW, FLUX I Listening Forum 1 (LS 1)

2 Claude Debussy: Syrinx for solo flute Thomas Adès: Violin Concerto (Mvt I)
György Ligeti: Violin Concerto (Mvt I)

Lecture 3: PLAY, FLOW, FLUX II

Toru Takemitsu: Air for solo flute Writing Lab 2
3
Claude Debussy: Prélude à l’après-midi d’un DIRECTED PLAY
faune

Lecture 4: PATTERNS Listening Forum 2 (LS 1)

4 Thomas Adès: Violin Concerto
Unsuk Chin: Cello Concerto
György Ligeti: Violin Concerto

Lecture 5: HARMONIC FLUX

Unsuk Chin: Cello Concerto Writing Lab 3
5
Christophe Bertrand: Vertigo FLOW/FLOATING
Luciano Berio: II from Sinfonia (‘O King’)

Lecture 6: COUNTERPOINT
Béla Bartók: V from String Quartet No. 4
6 Maurice Ravel: III from Sonata for Violin & Cello TUTORIALS
Beat Furrer: Ira-Arca for flute/bass flute & double
bass

— MID-TRIMESTER BREAK —

Listening Forum 3 (LS 1)

7 MINOR ASST 1 READTHROUGHS
Beat Furrer: Ira-Arca

Lecture 7: INTERVALS
Arnold Schoenberg: Drei Klavierstücke Op. 19 Writing Lab 4
8
Anton Webern: Fünf Sätze für Streichquartett COUNTERPOINT
Jenny McLeod: Tone Clock Piece I

Lecture 8: ALGORITHMS
Pierre Boulez: Dérive
Oliver Knussen: Flourish with Fireworks Listening Forum 4 (LS 1)
9
Michael Norris: Violin Concerto ‘Sama’ Kaija Saariaho: Orion
Hanspeter Kyburz: Cells
Michael Norris: Icons and Artifice

10 MINOR ASST 2 READTHROUGHS TUTORIALS

Lecture 9: TIMBRE & GESTURE

Aaron Cassidy The wreck of former boundaries Listening Forum 5 (LS 1)

11 Salvatore Sciarrino No. 1 from Sei Capricci
Georg Friedrich Haas: Trombone Concerto
Helmut Lachenmann String Quartet No 2
Clara Iannotta Limun

No Lecture

12 MINOR ASST 3 READTHROUGHS
Queen’s Birthday

CMPO301 SYLLABUS 5