|
[Introductory Pages
49-51]
Study
program-Composition
Honours in Composition-Application for entry to the Honours stream
should be made at the end of second year. Students seeking to
enter the Honours stream must achieve a grade of High Distinction or
Distinction in the units Instrumental and Vocal Composition 2,
Electroacoustic Composition 2 and Composition Seminar 2. To remain in
the Honours stream similar results must be achieved in third-year
Composition units. Additionally, satisfactory grades are
required in two of the following by the end of second year-Harmony and
Counterpoint 2, Aural 2 and History (two one-semester units).
[Structure of the Undergraduate Major]
Notes
(1) A student majoring in Composition is not required to study
an instrument, but may do so as an elective. If an instrument is
studied as an elective, the student will need to undertake the elective
in consecutive years, choosing either Years 1 and 2, or Years 2 and 3.
(2) History units–All students
are required to complete the unit Outline of Music History and Method
in the first vear. Students in the B.Mus. Composition major are
required subsequently to undertake 5 semester-length History units (or
their equivalent). Details are set out in the List of Electives
on pages 67-9.
(3) Keyboard–There is provision to examine out of this unit during the first two years.
(4) Elective–Students will receive counselling in their selection of this unit. The recommendation of both the
lecturer supervising the major and the lecturer of the elective unit is
required. Details are set out with the List of Electives.
(5) Aural 2 and Harmony and Counterpoint 2–Students
may undertake AMT Aural 2, AMT Harmony 2 and AMT Counterpoint 2 as a
substitute for Aural 2 and Harmony and Counterpoint 2, as recommended
by the Head of Department of Literature and Materials of Music.
Suggested reading for Composition students
Composition-General
Boulez, P., Boulez on Music Today, Harvard University Press, 1971.
Brindle Smith, R., Serial Composition, Oxford University Press, 1966.
Cage, J., Silence: Lectures and Writings, Cambridge University Press, 1961.
Cage, J., A Year ftom Monday: New Lectures and Writings, Wesleyan University Press, 1967.
Cage, J., M: Writings '67 - '72, Calders & Boyars, 1973.
Cage, J., For the Birds: In Conversation with Daniel Charles, Marion Boyars Publishers, 1981.
Erickson, E., Sound Structure in Music, University of California Press, 1975.
Hindemith, P, The Craft of Musical Composition, Associated Music Press, 1945.
Messiaen, O., tr. Satterfield, The Technique of My Musical Language, Leduc, 1956.
Perle, G., Serial Composition and Atonality, Faber and Faber, 1962.
Reti, R., Tonality, Atonality, Pantonality: A Study of Some Trends in Twentieth Century Music, Greenwood Press, 1978.
Reynolds, R., Mind Models, Praeger Publishers, 1975.
Rufer, J., tr. H. Searle, Composition with 12 Tones, Barrie & Rockliff, 1965.
Scherchen, J., The Nature of Music, Scholarly Press, 1972.
Schoenberg, A., ed. L. Stein, tr. L. Black, Structural Functions of Harmony, 2nd edn, Benn, 1969.
Schoenberg, A., Models for Beginners in Composition, Schirmer, 1943.
Xenakis, I., Formalized Music: Thought and Mathematics in Composition, Indiana University Press, 1971.
Orchestration and Instrumentation
Blades, J., Orchestral Percussion Techniques, Oxford University Press, 1961.
Brindle Smith, IZ., Contemporary Percussion, Oxford University Press, 1970.
Jacob, G., Orchestral Technique, Oxford University Press, 1970.
Karkoschika, E., tr. R- Koenig, Notation in New Music: A Critical
Guide to Interpretation and Realisation, Universal Edition, 1972.
Piston, W, Orchestration, Norton, 1955.
Read, G., Thesaurus of Orchestral Devices, Greenwood, 1969.
Rimsky-Korsakov, N., ed. M. Steinberg. tr. E. Agate, Principles of Orchestration, Dover, 1964.
Risatti, H. New Music Vocabulary: A Guide to Notational Signs for Contemporary Music, University of Illinois Press, 1975.
Wagner, J., Orchestration: A Practical Handbook, McGraw-Hill, 1959.
Acoustics and Psychoacoustics
Helmholtz, H.L.E, On the Sensation of Tone, 2nd edn, Dover, 1954.
Olson, H.E, Music, Physics and Engineering, 2nd edn, Dover, 1967.
The Physics of Music, Readings from Scientific American, Freeman, 1978.
Partch, H., Genesis of a Music, 2nd edn, Da Capo Press, 1974.
Rigden, J.S., Physics and the Sound of Music, Wiley, 1977.
Roederer, J.G., Introduction to the Physics and Psychophysics of Music,
2nd edn (Heidelburg Science Library), Springer-Verlag, 1975.
Seashore, C.E., The Psychology of Music, Dover, 1967.
Winckel, F., Music, Sound and Sensation, Dover, 1967.
Musique Concrète and Voltage Control
Appleton, J.H., and Perera, R.C. (eds), The Development and Practice of Electronic Music, Prentice-Hall, 1975.
Dwyer, T., Composing with Tape Recorders, Oxford University Press, 1971.
Flind, A.J., Electronic Projects in Music, Butterworth, 1979.
Griffiths, R, A Guide to Electronic Music for Schools, Cambridge University Press, 1981.
Schrader, B., Introduction to Electro-acoustic Music, Prentice-Hall, 1982.
Truax, B. (ed.), Handbook for Acoustic Ecology, No. 5 in the Music of the Environment Series, ARC Publications, n.d.
Computer Music
IBM, APL: An Introduction, IBM, 1985.
Carlos, M., and Stewart, T., Fairlight Users Manual, Fairlight Instruments, 1985.
Lincoln, H.B. (ed.), The Computer and Music, Cornell University Press, 1970.
McCauley, C.S., Computers and Creativity, Praeger Publishers, New York, 1974.
Risset, J.C., An Introductory Catalogue of Computer Synthesised Sounds, Private Monograph, n.d.
Worrall, D., MPL Reference Manual, Melbourne University, 1984.
Worrall, D., Tutorial Introductions to MPL, Melbourne University, 1984.
Journals and Periodicals
Analog Sounds
Computer Music journal
Die Riehe
Electronic Music Review (Institute of Sonology, Utrecht)
Journal of Music Theory
Perspectives of New Music
Source
Tempo
|