Composition and Interpretation I, 30 credits

Aims and objectives

General aims for first cycle education

First-cycle courses and study programmes shall develop:

• the ability of students to make independent and critical assessments
• the ability of students to identify, formulate and solve problems autonomously, and
• the preparedness of students to deal with changes in working life.

In addition to knowledge and skills in their field of study, students shall develop the ability to:

• gather and interpret information at a scholarly level
• stay abreast of the development of knowledge, and
• communicate their knowledge to others, including those who lack specialist knowledge in the field.

(Higher Education Act, Chapter 1, Section 8)

Course objectives

Knowledge and understanding
After completing the course, the student should be able to

• describe the development of instrumentation up to the romanticism,
• explain the problem of translating between different instrument idioms,
• describe the most important musical forms of classicism and romanticism, and
• describe and identify qualities in different musics from different musical aesthetic points of view.

Skills and ability
After completing the course, the student should be able to

• perform artistic tasks based on given techniques and genre idioms,
• apply knowledge of compositional craft to translate own musical ideas into notated scores with adequate notation depending on situation,
• create compositions that take into account the possibilities and limitations of different instrumentalists and ensemble types,
• perform simplifications of orchestral scores,
• instrumentate and arrange simpler scores for different combinations of voices and instruments, and
• perform basic musical form analysis.

Appreciation and approach
After completing the course, the student should be able to

• reflect on his or her own artistic approach and own development against a personal expression,
• describe and reflect on the interaction between creative processes and craftsmanship,
• reflect on the cooperation between composer and interpret in a creative process, and
• reflect on the interaction between music theoretical insights and composition.

Main content of the course

Composition, 15 Credits

• Composition projects with focus on the students own artistic approach and development towards a personal expression.
• Seminars with focus on laboratory exercises with different musical means of expression.
• Seminars with focus on different musical aesthetic points of view and how these are translated into sounding music.

Music Theory, 7,5 Credits

• Seminars with focus on perception of musical form and gesture through listening and score analysis.
• Seminars with focus on timbres of different instrument and voice combinations through score analysis and writing exercises.

Individual Second Study, 7,5 Credits

The content of the course is based on the students choice of subject.

Teaching methods

Teaching is done in the form of individual education, seminars and workshops.

Students who have been admitted to and registered on a course have the right to receive tuition and/or supervision for the duration of the time period specified for the particular course to which they were accepted (see, the university's admission regulations (in Swedish)). After that, the right to receive tuition and/or supervision expires.

Examination methods

Music Analysis, 3.5 credits (Code: A004)
Examination by assessment of written and notated assignments.

Orchestration and Arranging, 4 credits (Code: A005)
Examination by assessment of written and notated assignments.

Composition

Composition and Reflection, 9 credits (Code: A001)
Examination by assessment of written and notated assignments, as well as sounding presentation.

Craftmanship, 3 credits (Code: A002)
Examination by assessment of notated assignments.

Score Analysis and Aesthetics, 3 credits (Code: A003)
Examination by assessment of written assignments.

Individual Second Study

Individual Second Subject, 7.5 credits (Code: A006)
Examination depending on the student's choice of subject by assessment of performed and/or written assignments.

For students with a documented disability, the university may approve applications for adapted or other forms of examinations.

For further information, see the university's local examination regulations (in Swedish).

Grades

According to the Higher Education Ordinance, Chapter 6, Section 18, a grade is to be awarded on the completion of a course, unless otherwise prescribed by the university. The university may prescribe which grading system shall apply. The grade is to be determined by a teacher specifically appointed by the university (an examiner).

According to regulations on grading systems for first- and second-cycle education (vice-chancellor's decision 2019-01-15, ORU 2019/00107), one of the following grades is to be used: fail, pass, or pass with distinction. The vice-chancellor or a person appointed by the vice-chancellor may decide on exceptions from this provision for a specific course, if there are special reasons.

Grades used on course are Fail (U), Pass (G) or Pass with Distinction (VG).

Composition and Reflection
Grades used are Fail (U), Pass (G) or Pass with Distinction (VG).

Craftmanship
Grades used are Fail (U), Pass (G) or Pass with Distinction (VG).

Score Analysis and Aesthetics
Grades used are Fail (U), Pass (G) or Pass with Distinction (VG).

Individual Second Subject
Grades used are Fail (U), Pass (G) or Pass with Distinction (VG).

Music Analysis
Grades used are Fail (U), Pass (G) or Pass with Distinction (VG).

Orchestration and Arranging
Grades used are Fail (U), Pass (G) or Pass with Distinction (VG).

For further information, see the university's local examination regulations (in Swedish).

Comments on grades

Obtaining the grade Pass with distinction (VG) on the whole course requires at least 18 hec with grade Pass with distinction (VG) and at least the grade Pass (G) in the rest of the course.

Specific entry requirements

60 Credits at a Bachelor Program of Fine Arts in Music and passed entrance test in Music Programme in Composition and an additional entrance test.

For further information, see the university's admission regulations (in Swedish).

Transfer of credits for previous studies

Students who have previously completed higher education or other activities are, in accordance with the Higher Education Ordinance, entitled to have these credited towards the current programme, providing that the previous studies or activities meet certain criteria.

For further information, see the university's local credit transfer regulations (in Swedish).

Reading list and other teaching materials

Composition, 15 Credits

Required Reading

Adler, Samuel (2016)
The Study of Orchestration
New York : W.W. Norton

Hambraeus, Bengt (1997)
Aspects of twentieth century performance practice: memories and reflections
Stockholm: Kungliga Musikaliska Akademin

Levinson, Jerrold (2015)
Musical Concerns: Essays in Philosophy of Music
Oxford: Oxford University Press, ISBN/ISSN: 978-0-19-966966-0

Lärarsammanställt material

Wilkins, Margaret Lucy (2006)
Creative music composition: the young composer's voice
New York: Routledge

Additional Reading

Belkin, Alan (2016)
A Practical Guide to Musical Composition
http://alanbelkinmusic.com/site/en/

Belkin, Alan (2018)
Musical Composition - Craft and Art
New Haven & London : Yale University Press

Benjamin, Thomas (2003)
The Craft of Tonal Counterpoint
New York : Routledge, ISBN/ISSN: 0-415-94391-4, 432 sidor

Internet Encyclopedia of Philosophy (IEP)
The Aesthetics of Classical Music
http://www.iep.utm.edu/aest-c-l/#SH4c

Klein, Georg (red.) (2012)
Nya tankar om kreativitet och flow
Stockholm: Brombergs, ISBN/ISSN: 978-91-733-7415-6

Schubert, Peter (2008)
Modal Counterpoint: Renaissance Style
New York: Oxford University Press

Music Theory, 7,5 Credits

Required Reading

Adler, Samuel (2016)
The Study of Orchestration
New York : W.W. Norton

Ligeti, György
Det musikaliska formtänkandets förvandlingar (ur Från Mahler till Ligeti, Ove Nordvall red. (1965) 1958
Stockholm : Bonniers

Stein, Leon (1995)
Structure and style : the study and analysis of musical forms
USA : Summy-Birchard Inc., ISBN/ISSN: 978-91-88316-68-4

Instrumentation och arrangering
Smith Brindle, Reginald (1987) The New Music
Oxford, Oxford University Press

Additional Reading

Caplin, William E (1998)
Classical Form
Oxford, New York, Oxford University Press,
ISBN/ISSN: 978-0-19-514399-7, 307 sidor

Holmberg, Peter (2003)
Wienklassiska formtyper
Stockholm : Kungliga Musikhögskolan,
https://goo.gl/forms/ V4Ltkkm9g8IKGCnP2

Carse, Adam (1964)
The History of Orchestration
New York : Dover Publications, ISBN/ISSN: 0-486-21258-0

Jansson, Roine (2008)
Traditionell Arrangering
Stockholm: Notfabriken

Individual Second Study, 7,5 Credits

Required Reading

Lärarsammanställt material