Advanced techniques of contemporary composition 1
Subject is not scheduled Not scheduled
Name of lecturer(s)
Learning outcomes of the course unit
Expanding of the knowledge and context of contemporary musical production. To foster a critically rigorous but non-dogmatic perspective on various types of compositional thinking, including persuasive argumentation. Understanding of the cultural roots and conceptual starting points of the compositional aesthetics discussed, and knowledge of the compositional techniques used. Ability to apply the acquired knowledge creatively.
Mode of study
Prerequisites and co-requisites
basic information literacy, orientation with current OS
Each lesson is divided into two parts, where the first part usually involves listening and analysis of the selected score and the second part involves the discussion of the chosen topic. Instruction is supplemented by reading selected texts and their subsequent interpretation. The course aims to connect the students' existing knowledge to broader contexts. The analytical focus is mainly on compositions of the second half of the 20th century to the present. The selection of scores is not limited to Euro-American art music, but seeks to cover as wide a cultural and aesthetic range as possible (e.g. ethnic music, film and stage music, multimedia, etc.). Ample space is given to the distinctive compositional movements of contemporary music, which are discussed within the following thematic areas.
- Contemporary American music - the youngest generation (A. Norman, N. Muhly, C. Shaw, M. Mazzoli, J. Greenstein, etc.)
- French Musique saturée (R. Cendo, F. Bedrossian, Y. Robin, etc.)
- Third Viennese School? (B. Furrer, B. Lang, P. Ablinger, etc.)
- A new spirituality? (J. Tavener, A. Part, G. Kancheli, J. Franssens, J. MacMillan, etc.)
- The heritage of spectral music (J. Harvey, G-F. Haas, K. Saariaho, C. Vivier, J. Anderson, etc.)
- The legacy of G. Ligeti (T. Adés, U. Chin, E-S Tuur, A. Thorvaldsdottir, etc.)
- The New Simplicity (L. Crane, J. Cage, M. Smolka, etc.)
- Danish music (P. Norgard, H. Abrahamsen, B. Sorensen, etc.)
Recommended or required reading
METZER, David Joel. Musical modernism at the turn of the twenty-first century. New York: Cambridge University Press, 2009. ISBN 978-0-521-51779-9.
GRIFFITS, Paul. Modern music and after. 3rd edition. USA: Oxford University Press, 2011. ISBN 978-0199740505.
Scores and recordings of analysed works.
CAGE, John. Silence: Lectures and Writings /by John Cage. Middletown, Conn: Wesleyan University Press, 1973.
SHENTON, Andrew. The Cambridge companion to Arvo Pärt. New York: Cambridge University Press, 2012. ISBN 978-1-107-00989-9.
BEYER, Anders. The music of Per Nørgård: fourteen interpretative essays. Vermont: Ashgate, c1996. ISBN 978-1859283134.
SCIANNAMEO, Franco a Alessandra Carlotta PELLEGRINI. Music as dream: essays on Giacinto Scelsi. Lanham, Md.: Scarecrow Press, 2013. ISBN 978-0810884243.
HILL, Peter, ed. The Messiaen Companion. Faber & Faber, 1994. ISBN 978-0571170333.
GILMORE, Bob. Claude Vivier: a composer's life. Rochester, NY: University of Rochester Press, 2014. Eastman studies in music. ISBN 978-1-58046-485-7.
KURTZ, Michael a TRANSLATED BY RICHARD TOOP. Stockhausen: a biography. Paperback ed. London: Faber and Faber, 1994. ISBN 05-711-7146-X.
SCHNITTKE, Alfred, Alexander IVASHKIN a J. D. GOODLIFFE. A Schnittke reader. Bloomington: Indiana University Press, c2002. Russian music studies (Bloomington, Ind.). ISBN 02-533-3818-2.
TAVENER, John a ED. BY BRIAN KEEBLE. The music of silence: a composer's testament. London: Faber and Faber, 1999. ISBN 05-712-0088-5.
WHITTALL, Arnold. Jonathan Harvey. London: Faber and Faber, 1999. ISBN 05-711-9581-4.
HARVEY, Jonathan. In quest of spirit: thoughts on music. Berkeley, Calif.: University of California Press, c1999. Ernest Bloch lectures. ISBN 05-202-1392-0.
POTTER, Keith, Kyle GANN a PWYLL AP SIÔN. The Ashgate research companion to minimalist and postminimalist music. Burlington, VT, USA: Ashgate, 2013. ISBN 978-1409435495.
Assessment methods and criteria
Preparation of at least one composition study based on the material discussed. Presentation of one’s own analysis of the selected composition.
Minimum attendance: 75 %.
Course web page
Course may be repeated
No schedule has been prepared for this course
The subject is a part of the following study plans
- Composition-Specialization electroacoustic music (Mg) (required optional subject)
- Composition-Specialization Film Music (Mg) (required optional subject)
- Composition-Specialization Composition (Mg) (required main subject)