SiMON FRASER UNIVERSITY
?
3
MEMORANDUM
To ......... .
ena
te
.
From
............
Birch
Chairman, SCUS
Date .....
...79-12-2.
Subject
..ewProgramProposa..M4.n
.....
in Contemporary Music
Action taken by the Senate Committee on Academic Planning
at its meeting of December 12, 1979 and by the Senate Committee
on Undergraduate Studies at its meeting on December 18, 1979
gives rise to the following motion:
MOTION:
That Senate approve and recommend approval to
the Board of Governors the proposed Minor in
Contemporary Music as set forth in 'S80-3
and specifically including the following:-
(i)
New courses
FPA.140-3 Introduction to Contemporary Music
FPA.240-3
Contemporary Music Performance
FPA.244-3
Contemporary Music Composition and Composers
.
?
FPA.245-3
Music Composition and Performance I
FPA. 340-3
Music Composition and Performance II
FPA.341-3
Music Composition and Performance III
FPA.347-3
Introduction to Electronic Music Composition
FPA.348-3
Introduction to Computer Music
CoiTçoSitiOfl
FPA.448-5
Directed Study in Music Composition
FPA.449-5
Directed Study in Electroacoustic
Music Composition
(ii)
!nor in Contemporary Music
NOTE
The music minor was deleted from an earlier development
plan of the Centre for the Arts which was
•
approved in principle
by SCAP and Senate, however, it was removed because planning
was at a very rudimentary stage rather ' than because those bodies
had any specific reservation about the developmentof a music
minor. The minor now before Senate is entirely consistent with
thegeneral development of the Centre for the Arts and it has
the additional virtue of incorporating and building upon a
field which has gained this University an international rep-
utation since 1965. Through the work of Murray Schafer the
0 ?
.......... 2
Senate ?
- 2 -
?
1979-12-20
Centre for Communication and the Arts attracted a great deal
of attention in the field of the acoustic dimensions of
communication, environmental acoustics, and electroacoustic
communication.
Music is the last of the arts to be developed within the
curriculum of the Centre for the Arts and the Senate Committees
were informed that this is so for two major reasons: First)
music programs can be very costly when taught in the traditional
studio and individual instruction modes; second, music is
probably the best covered of the arts in B. C. when it comes
to formal programs. In planning a music program the Centre
for the Arts has sought to emphasize the need for complement-
arity with its own programs in other fields and in so doing
has developed a program which will be unique in the province
and which will operate with substantially lower instructional
costs than most music programs.
On the one hand the proposed minor in contemporary music
is not designed to provide a career training for professionals;
on the other hand it is not intended as a program in "music
appreciation". Performance and composition are central to the
program. Although enrolment projections show 12 students
completing the minor in any given year, enrolment will be much
of
higher
students
in many
emphasizing
of the courses
other aspects
which will
of the
serve
fine
the
and
interestsperform-
?
41
ing arts or majoring in related fields.
Should the minor in contemporary music be approved, the
intention of the Centre for the Arts is to implement it in
1981/82 and 1982/83. Full implementation will require the
appointment of anew faculty member in each of those two years
and, the appointment of a laboratory instructor, the purchase
of library resources, the renovation of existing space, and the
purchase of some equipment complementary to existing equipment.
Initial purchases required for the Library are estimated at
approximately $12,000 but this may require supplementing in
the second year. Submissions to the Universities Council will
incorporate all the. additional operating costs for the proposed
minor, specifically those operating costs which can proper1y.:..
be ascribed to the new courses proposed for the minor. The
program, if approved byCouncil, will be eligible for one
year of new program funding and for emergent program funding
for the period of its implementation plus one year. Beyond
that time, like all other programs in the University it will
be funded through the enrolment-driven allocation formula.
D. R. Birch
/mgl
-
?
.
?
SiMON FRASER UNIVERSITY
5
C
t
f
MEMORANDUM
- - ?
... ?
Mr0
FLMO .Evans.,...Registrar...
...............................
From
........
Janet
...
Blanchet.... Secretary ... to ... the ............
Faculty of Interdisciplinary Studies
Secretary.,. .scus...................................................................
?
Undergraduate.. Curriculum. Committee....
Subject .......
New
..
Program..Prop.os.al
...I..S...C.....79.2.3 .............
.
Date .........
December........19.79.. ........................ ....... ........... ........ .... ..
Minor in Contemporary Music
The attached New Program Proposal for .a Minor in Contemporary Music (I.S.C. 79-23)
was approved by the Faculty of Interdisciplinary Studies Undergraduate Curriculum
Committee at its meeting on 4 December 1979.
Would you please place this item on the agenda for the next meeting of the
Senate Committee on Undergraduate Studies.
-ci
?
Janet Blanchet
•
Attachments
cc: J. Chase
S
SIMON FRASER UNIVERSITY
MEMORANDUM
John Dickinson, Chairman
?
From.
Evan Alderson, .Director.............................
.IDS Curriculum
.
.Comflu.ttee
?
Centre for the Arts .............................
Subject.
Minor in Contemporary Music
?
Date.
?
November 29, 1979. ..................................
Please find attache d
a proposal for a minor in Contemporary Music.
The program has been planned primarily by Professor Barry Truax of
Communication and the Centre for the Arts and Mr. David Maclntyre of this
Department. Because the program makes extensive use of courses within the
Department of Communication, it is being proposed by both departments,
although the intention is that the main calendar entry and the administration
of the program should be within the Centre for the Arts.
A few words on the genesis of the program maybe useful. From the
inception of the Centre for the Arts it has been our stated intention to
develop a program in music to the level of a minor concentration. Approval
in principle for a minor in music was soughtin a development paper that
went before the Senate Committee on Academic Planning in January of 1978
(SCAP 78-4). Because the music minor was less fully developed than other
programs proposed in that paper, SCAP.decided not to consider the proposal
in principle, at that time, but suggested that we -forward a fully developed
proposal when we were ready to have it considered. The minor now proposed
is cognate with the four existing minors in dance, film, theatre and visual
art and completes the disciplines in which we intend to pursue program
development. The minor as a whole and the courses within it provide an
essential dimension of the interdisciplinary study of the arts which is a
primary goal of the Centre for the Arts.
We request that the minor in contemporary music be introduced formally
in the fall semester of 1981. Because the program will require emergent
program funding from the Universities Council, I hope that you can assist
in taking the proposal through the various approval stages in time for the
Senate meeting of January 14, 1980. .
'S
-
Evan Alderson
EA/yn
0
- ?
SiMON FRASER UNIVERSITY
MEMORANDUM
Chairperson, Undergraduate Studies
?
.From ?
R. Lorimer, Undergraduate Chairman
Centre for the Arts
?
Department of Communication
Subject
Proposed Music Minor, Centre for the
......Arts
Date ?
November 29, 1979.
At a meeting on November 26 the Undergraduate Curriculum Committee gave
formal approval to your proposed music minor. We are happy to have Communications
courses,. specifically INNS 258, 259, 358 and 359 as part of the proposed minor.
Several notes should be of interest to you.
1.
While these courses are presently in demand within the department we
will make formal provision for priority to be given to future music minors
wanting to enroll in these courses.
2.
We anticipate in the near future a more specifically articulated program
in Critical Analysis of the media. As that happens we hope
to
be able to provide
other sets of courses which would be useful for other minors within your program
both as adjunctive courses and, possibly, as courses which might be fully
integrated into the minor as the courses are which are included in your present
proposal. Certainly, with the development of the critical analysis area courses
such as the ones taught by Truax will become more plentiful within the department.
We will keep you informed on these developments and look for your consultation.
3.
Related to point #2; we are currently re-examining the role of "hands on"
courses with respect to "theoretical" courses. Certainly our undergraduate students
would like to see more "hands on" courses to provide them with a basic literacy
in a number of the media. With that they might have a more solid foundation for
understanding and criticism. Perhaps in this area there is room for a closer
collaboration between our departments.
-
....,
?
/
-
Undergraduate Chairman
. ?
cc: Undergraduate Committee
Chairman FPA
Chairman Communications
Barry Truax
.
IM
THE MINOR IN CONTEMPORARY MUSIC
An Overview of Course Structure
Level
?
Fall
?
Spring
*
?
*
I ?
FPA.
102
-
3
Music in History I FPA.
103-3
Music in History II
FPA. 104-3 Music Fundamentals FPA. 104-3 Music Fundamentals
*
(the above are existing general interest courses not a
part of minor requirements)
FPA. 140-3 Introduction to Contemporary
Music (2-2-0)
II ?
FPA. 240-3 Contemporary Music' FPA. 245-3 Contemporary Music Performance
Performance (1-0-3)
?
and Composition I(selected entry course)
*
?
' ?
(2-0-4)
FPA. 244-3 Contemporary Music CMNS 258-3 Sound Tape Recording I
Composition and Composers
?
(Electroacoustic Communication(2-2-0)
(2-2-0)
*
CNNS 259-3 Acoustic Communi-
cation I (2-2-0)
III
?
FPA. 340-3 Performance and
?
FPA. 341-3 Performance and Compositionlll
Composition II (2-0-4)
?
(2-0-4)
FPA.
Electronic
347-3 Introduction
Music Composition
to
?
,
?
FPA.
Music
348-3
Composition
Introduction
(0-2-3)
to Computer
0
(0-2-3)
*
?
*
CMNS 358-3 Sound Tape Record-
.
CMNS 359-3 Acoustic Communication II
ing II(Electroacoustic
?
' ?
(0-3-0)
Communication II) (0-3-3)
IV ?
FPA. 448-5 Directed Study in Music Composition
FPA.
?
Directed Study in Electroacoustic Music Composition
CMNS 483-5 Directed Study (Acoustic Communication)
*
existing course
Minor Requirements:
Lower
diviii
u
a
?
FPA. 140
?
3 credits
r"'
1 Context Course
?
6 credits
FPA. 240, 244, 245
?
9 credits
1 of CMNS 258, 259
?
3 credits
Total 21 credits
Upper ?
FPA. 340, 341
?
6 credits
1 of FPA.347, 348
?
3 credits.
1 of CMNS 358, 359
?
3 credits
1 of FPA. 448,449
?
5 credits
Total 17 credits
THE MINOR IN CONTEMPORARY MUSIC
I.
Aims and Goals:
The aim of the Contemporary Music Minor is to establish an
interdisciplinary program of training and experience in Music that
will complement a student's work in the other arts, in other inter-
disciplinary subjects, or in the humanities. The program does not
intend to provide career training for professional performers,
commercial musicians, musicologists or music educators, areas which
are well covered in other institutions in British Columbia. Instead,
the program will provide a wide basis of training in music and sound
by leaning heavily on the creative facet of music in a contemporary
idiom. As such, the program will be unique in North America as one
of the few interdisciplinary curricula in music, and one of the few
where its combination with other art forms will be actively encouraged.
The program will be designed to have a wide appeal to various
types of students already at S.F.U., and to attract others to the
University who are looking for an alternative to more traditional
faculties and departments of music. The kinds of interests the
students might typically have would be in contemporary music composition,
in the relation of music composition to technology, in experimental
performance techniques, in collaborative efforts between the arts, in
•
?
the relation of sound and music to the media and contemporary social
problems, and in the practical aspects of music-making in relation to
the other arts.
The Minor could be suitably combined within a communication major, with
a minor in other arts programs, or with programs in the Faculty of Arts
or Interdisiciplinary Studies. The upper division courses might form
the core of an Extended Studies Diploma program for students already
holding degrees.
II.
Program Themes
The program is centred around a core of courses in contemporary
composition and performance, with parellel sequences in electro-
acoustics and acoustic communication. Each of these areas, and the
courses they contain, will be discussed separately. First, however,
we will consider the interdisciplinary basis of the program.
page 2.
In formulating a new, experimental approach to music which
is to act as an alternative to the traditional discipline, one must
find or create a disciplinary foundation on which to base the program.
We are convinced that such a basis is now available through the
integration of knowledge from a wide range of sources which are
increasingly being brought to bear on contemporary music composition.
These include all aspects of sound behaviour, as defined through
acoustics, psychoacoustics, environmental acoustics, electroacoustics,
linguistics and communication. In addition, one gains valuable
insight from the social sciences into the role and function of sound
and music in the media and social environments. Increasingly the
musical arts are being influenced by technology, both in the production
and reproduction of music. Therefore a teaching program can combine
a study of the technological influence with the creative use of that
technology for artistic ends. Finally, the study of 20th century
music both historically and analytically, combined with practical
experience in performance techniques, provides a broad basis for
exploration. In short, the program will bring together a set of
knowledge areas which are seldom tapped to any significant degree
by traditional music programs, namely contemporary music practice,
musical uses of technology, contemporary practice in the other arts,
and social science analysis.
The courses in Composition and Performance will be new additions
to the Centre for the Arts. The courses in the Electroacoustic stream
and the Acoustic CommUnication stream will utilize the existing
courses taught by Barry Truax in the Department of Communication, and
therefore the program is proposed by both Departments. The electro-
acoustic stream will require two additional FPA. courses in the areas
of electronic and computer music.
Sequences of Study
A. Composition and Performance sequence
1st year FPA.140 Introduction to Contemporary Music
2nd year FPA.240 Contemporary Music Performance
FPA.244 Contemporary Music Composition and Composers
FPA.245 Contemporary Music Performance and Composition I
3rd year FPA.340 Contemporary Music Performance and Composition II
FPA.341 Contemprrary Music Performance and Composition III
4th year FPA.448 Directed Study in Music Composition
C
page 3.
This core set of courses combines composition and performance
•
?
in such a way that the student gains not only an insight into the
creative process, but also into the problems of realizing an idea
or a score in performance. Performance in this sense means performing
oneself, in a group, or with professional performers. It should be
noted that these two aspects of music, the conception and the
realization, are often kept separate in music schools, composition
being taught directly with the performance of the work left to the
student's ingenuity.
The aim of this set of courses is to give students practical
creative musical experience in developing a musical idea, scoring it,
and realizing it in performance. In addition, the courses will
provide a familiarity with contemporary composition and performance
techniques, a working knowledge of major trends within the 20th
century combined with historical and cross-cultural examples where
appropriate, and specific knowledge of Canadian work.
The course structure begins with an introductory first-year
course that surveys the entire field, and offers students some
practical experience in both composition and performance. At the
second year level, composition and performance are studied in
separate courses during the first semester in order to cover a
large amount of material systematically. However, the areas are
combined again in the FPA.245, 340 and 341 courses in order that the
process of conception to realization can be explored. The experience
of these second and third year courses naturally leads to individual
work projects at the fourth year.
At the first year level, the program will naturally be introductory,
requiring no particular skills, although previous or concurrent
familiarity with rudiments will be required. This knowledge may be
demonstrated by the completion of FPA.104 or in an interview prior to
registration. The sense of the course will be at the level of "what
is it like to think compositionally about music?" and "what is the
nature of contemporary music practice?" Since the majority of students
have never been exposed to contemporary music, a great deal of time
will be spent exposing them to relevant and approachable examples,
graphic notation, and simple experiments with available resources.
Coverage of the field will not be systematic, but rather representative,
with the emphasis on experience and participation. The simple
resources which can be used at this level are "found" soundmakers,
text-sound material, improvisation with available sound, simple
tape recording and playback, singing and any instrumental abilities
already practised by the student.
0
page 4.
The second year level will approach the field more systematically,
both in terms of historical examples and analysis. The composition
course will involve such areas as the analysis of contemporary
scores, surveys of compositional theories and notational systems,
aesthetic attitudes and values, familiarity with major figures, trends
and works, new definitions of the composer's social role (educator,
performer, impressario, social critic, researcher, system developer,
businessman) in relation to government, education, commerce and the
environment. Particular emphasis will be given to the Canadian
situation, including the history and practice of music in Canada (for
which the local branch of the Canadian Music Centre provides an
invaluable resource). Compositional techniques of course will be
included and students will produce exercises using them, but it is
intended that this work will be presented within the framework of what
composition in this century has been and is about, aesthetically,
socially and culturally.
• The performance course at the second year level will emphasize
the practical aspects of. how scores and musical ideas are realized.
Instruments will be used only when students have previous knowledge
of them (a situation which no doubt will often occur). Otherwise,
the emphasis will be first on voice training, and secondly, on using
improvised, found or self-made instruments. The emphasis on voice
training has many advantages, only one of which is cost. The use of
voice is common to all musical cultures and to several of the other
arts, most notably theatre. The courses will cover topics in notation,
improvisation, combination with other media or arts, techniques of
performer interaction and organization, in addition to specific
performance techniques.
As already described, the uniqueness. of the program lies
largely in the specific combination of composition and performance
practice, linking the two from the end of the second year on in a
series of courses called Performance and Composition I, II and III.
Students will be continually exposed to the interaction between
conception and realization, putting into practice the concepts
described above. The studio format,will be used for the rehearsal
and performance of student works, in the presence and often with
the assistance of the entire class, and at least occasionally with
professional musicians.
?
Ideally, a group of contemporary music
performers could be attracted to .the campus as residents for this
purpose. Brief visits from touring groups form another possibility,
allowing for the combination of public performance and student
workshops.
page S.
.
?
B. ElectroacouStic Sequence
2nd year
CMNS
258 Explorations in Sound Tape Recording
3rd year
CMNS
358 Sound Tape Recording: Theory and Uses
(Classical Tape Studio)
FPA. 347 Introduction to Electronic Music
FPA. 348 Introduction to Computer Music
4th year FPA. 449 Directed Study in Electroacoustic Composition
An increasingly wide range of uses of technology have influenced
musical practice in this century. The most accessible and important
of these are: 1) the tape medium; 2) the electronic synthesizer;
3) computer programs and related digital devices. These three are
very distinct technologies which need to be studied separately, and
which require separate facilities. At present, the classical tape
studio techniques are taught by Barry Truax in the Sonic Research
Studio in the Department of Communication. His computer music system,
using the minicomputers in Computing Science, have been used over the
past few years in non-credit workshops sponsored by the Centre for the
Arts. Finally, plans are under way to upgrade the studio which is
currently in the basement of the Theatre, for Centre for the Arts use.
Adding an electronic synthesizer to this studio would allow that area
to be covered as well.
.
?
?
CMNS
258 is an appropriate introductory course for this area because
that technology which has found musical application also has wider
implications for sound production and reproduction throughout society.
To understand the artistic applications, the student should first be
introduced to the technical basis and implications of what is most
generally called electroacousticS - the transfer between acoustic and
electrical forms of energy.
CMNS
258 introduces all of this
information and gives the students practical experience in tape
recording. The social and artistic applications of the technology
are also introduced.
At the third year level, specialized studio courses provide the
detailed instruction that musical use of the tape medium, electronic
synthesizer and digital computer require. The courses emphasize
technical background and practical production considerations as
required for compositionaiwork. The combination of tapes produced
in these ways
with
other types of live performance is another
consideration within these courses.
A fourth year course allows individual composition projects
?
specializing in any of the electroacoustic areas or their combination.
page 6.
C. Acoustic Communication Sequence
2nd year
CMNS
259 Acoustic Dimensions of Communication I
3rd year
CMNS
359 Acoustic Dimensions of Communication II
4th year CNNS 483 Directed Study
This set of existing courses, taught by Barry Truax in the
Department of Communication, is based on a social science approach
to sound-based communication as experienced in language and inter-
personal communication, environmental sound behaviour and design,
the use of sound in the media, and listening and perceptual habits.
The courses are those originated by
R.M.
Schafer and his work with
the World Soundscape Project which provided an extensive tape library
basis for these courses.
The relevance of-these courses to studies in music lies first
in the way they deal with sound and listening. As contemporary
composers are increasingly able to control and design the sounds they
use electroacoustically, and as sound quality or timbre is increasingly
explored, a thorough knowledge of sound and its behaviour becomes
imperative. During this century, the repertoire of sound which is
available for inclusion within a musical composition has expanded so
greatly that all sound, natural or synthesized, instrumental or
environmental, may be considered. Composers can be considered as
designers of acoustic experiences, and therefore it is relevant to
them to know the way in which communication through sound occurs in
all situations.
Central to this proposal for a music program is the realization
that anyone who is to be involved creatively in music today, as well
as in the future, needs to be aware of much wider range of acoustic,
technical and social knowledge than before. The available materials
to work with are much larger, the social function of the art has
changed, the audience's experience is different, the distribution
network and even the environments within which music occurs all pose
greater challenges and problems. Our interdisciplinary approach is
designed to prepare students for these changes.
is
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page 7.
page 8.
III.
?
Related Areas and Adjunct Courses
Music History:
Two courses now exist (FPA.102 and 103) which cover the history of
Western music. Although these have not been designated as part of
the minor, students taking 'the minor will be advised to take these
as useful adjuncts to their contemporary studies. The minor does
not intend to provide comprehensive training in the subject of music
history or musicology per Se, and therefore does not include courses
in this area; however it acknowledges that a background in music
history is valuable to any music study. The "context" courses with-
in the Department, one of which is required in the minor, also gives
the students some opportunity of experiencing the integrated history
of art within a given period. Other courses occasionally offered in
the University on specific topics (e.g. Wagnerian opera) would also
be useful adjunct courses for students. However, it should be real-
ized that the general intention of the way in which contemporary
music is taught is not in exclusion of the historical perspective;
on the contrary, it. is assumed that historical examples and cross-
cultural examples will frequently be brought out where they pertain
as precedents to contemporary practice.
Performance':
It is expected that as the program develops, performance groups will
naturally spring up and function on a non-credit basis. Students
taking the regular courses will naturally want to continue their work
in freely formed groups. These will be encouraged to the extent that
time and rehearsal and performance space is available, but they will
not operate ona credit basis. Students working on projects, say
involving composition for one such group, could receive credit as part
of their coursework. The presence of professional musicians, both as
residents and visitors, will be extremely valuable for the program.
Too often one sees a large gap between the music school and the real-
ities of professional performance, particularly in contemporary music.
where it cannot be assumed that a performer will have been trained to
understand and' execute a score without some assistance from the composer.
Moreover, many composers have inadequate experience in working with
performers and groups, or in performing themselves, and thus a gap
exists between what is requested in a score, and what is practical
to realize. Although the music minor does not intend to provide
professional performance training, it does strongly intend to bridge
the gap between performer and composer by allowing students to
experience each discipline personally, work with professionals and
study the relation and problems between.conception and realization.
0
S
S
page 9.
IV Implementation Schedule
Assuming that the program can be funded for 1981-3, the most
practical implementation schedule is as follows:
New courses first taught
?
1981-1
?
140 (funded through sessional allocation in this term only)
?
1981-3 ?
240, 244, 347
?
1982-1
?
245, 348, 449
?
1982-3
?
340
?
1983-1
?
341, 448
The minor program could first be completed in 1983-1.
V Enrollment
When fully operational, the program will provide approximately 165
places for enrolees in new courses. Because we anticipate strong
interest in the various courses from students in the other arts and
in Communication, we expect the maximum enrollment to be achieved
quite rapidly.
A maximum of 12 students will be able to complete the minor each year.
page 10.
VI
Resources
?
C
Although the proposed minor builds substantially on present
?
resources, the following incremental resources will be required:
Faculty: Two continuing faculty will be required, one to be
appointed in 1981-82 with special competence in acoustic
composition and performance and one in 1982-83 with special
competence in electro-acoustic composition. Two sessional
appointments would be required during 1981-82 only to teach
FPA. 347 and 348.
Other instructional Staff: It would be desirable to appoint a
half-time Laboratory Instructor in order to provide basic
instruction in the use of sound equipment. Depending on
developments in other areas it might prove effective to combine this
allocation with other existing resources to provide more
comprehensive instruction support in the area of sound
through a single full-time appointment.
It would be desirable but not essential to provide some
incremental funding for visiting performance groups in
contemporary music.
of
It
sessional
is not anticipated
appointments.
that
One
the
Teaching
program will
Assistant
make regular
per annum
use
?
-18
will be required.
Space: With the acquisition of new space. in the iMS complex
this fall, we have been able to assign Studio I, a double
trailer near the Theatre, to the exclusive use of music. This
space will serve very well as the primary teaching and rehearsal
space for the music program. Assuming that, as currently
planned, the Centre's offices can move to building 6 of this
complex and Film to building 1 by September of 1981 and that
building 5 and the two adjacent trailers can be retained,
adequate space will be available for informal rehearsal space
and electronic piano rooms additionally required. The renovations
costs attributable to this program should not exceed $5,000.
Capital Equipment: Purchase of required electronic and acoustic
pianos, an adequate synthesizer, a sound mixing board and
related equipment for the sound studio in the Theatre, and a
digital oscillator bank to be used in conjunction with the
PDP 11 computer, should not together exceed the cost of $37,000.
0
page 11.
. ?
Library Resources: We estimate that adequate additional books,
recordings and scores, some to be housed in the library and
some in the Centre for the Arts can be acquired at an initial
cost of $12,000.
S
0
S
PROPOSED CALENDAR ENTRY
?
The Minor in Contemporary Music
In co-operation with the Department of Communication, the Centre
for the Arts offers a minor program in contemporary music. The
intention of this program is to provide students with a broad inter-
disciplinary experience in contemporary music composition and performance,
drawing on contemporary music practice, musical uses of technology,
contemporary practice in other arts, and studies in acoustic communication.
The performance aspects of the program focus on the realization of musical
ideas developed through studies in composition, and are not designed to
provide career training for performers. Minimal previous knowledge of
music is required to begin the program, which students may attain through
FPA. 104.
Minors in contemporary music will complete 21 hours of lower division
prerequisite credit, distributed as follows:
All of:
FPA.140-3 Introduction to Contemporary Music
FPA.240-3 Contemporary Music Performance
FPA.244-3 Contemporary Music Composition and Composers
FPA.245-3 Music Composition and Performance I
One of:
CMNS 258-3 Explorations in Sound Tape Recording
CMNS 259-3 Acoustic Dimensions of Communication I
One of:
FPA.110-6 The Arts in Context: The Renaissance
FPA.113-6 The Arts in Context: European Romanticism
FPA.114-6 The Arts in Context: The Modernist Era
FPA.116-6 The Arts in Context: North American Styles
Minors in contemporary music also will complete 17 hours of upper
division credit, distributed as follows:
FPA.340-3 Music Composition and Performance II
FPA.341-3 Music Composition and Performance III
One of:
FPA.347-3 Introduction to Electronic Music Composition
FPA.348-3 Introduction to Computer Music Composition
0
page 2.
One of:
0CMNS 358-3 Sound Tape Recording: Theory and Uses
-
?
CMNS 359-3 Acoustic Dimensions of Communication II
One of:
FPA.448-5 Directed Study in Music Composition
FPA.449-5 Directed Study in ElectroacouStic Composition
CMNS 483-5 Directed Study (Acoustic Communication)
Students intending to minor in contemporary music are advised to
take FPA.102-3, Music in History I and FPA.103-3, Music in History II.
FPA.104-3, Music Fundamentals, is available for students without previous
music training.
.
.
SENATE COMMITTEE ON UNDERGRADUATE
.
STUDIES ?
NEW COURSE. PROPOSAL, FORN
1. Calendar Information
?
Department:
Centre for the Arts
Abbreviation Code:_
FPA.
?
Course
Number:140
?
Credit
Title of Course:
Introduction to Contemporary Music
Calendar DecriptiOfl of Course:
A survey of major trends and practices of music in the
twentieth century, including theoretical techniques, group improvisation and
collaboration between the arts. The course also includes an introduction to
elementary composition using available resources, such as voice, percussion and tape
recording.
Nature of Course
?
lecture/tutorial
Prerequisites (or
special instructions):
Basic knowledge of music fundamentals, including?
elementary skills in melody, harmony and rhythm.?
be demonstrated by completion of FPA. 104, or in?
What course (courses), if any, is
being dropped fri
approved:
?
none
staff notation and keyboard, and
This pre-requisite knowledge may
an interview prioj to registration.
m the calendar U this course is
2.
Scheduling,
Bow frequently will
the course be offered? once per year
Semester in
which the course will first
be offered? ?
81-1
Which of your
present faculty would
be available to mnakc'the proposed offering
possible? ?
new faculty
3.
Objectives
of the Course
To acquaint the student with the distinct musical techniques and composers of the
twentieth century. The student will be encouraged to think compositionally about
music, and to investigate the source and nature of contemporary music practice.
4.
Budgetary
and Space Requirements (for information only)
What additional resources will be required in the following
areas:
fl
Faculty
see global resource requirements
Saf
Library
Audio Visual
Space
Equipment
5. Approval
Date:
-
2-
21
1
7 2 ,' . ?
4 AC 7
Department Chairman
?
Dean
Chairman,
SCUS
SCUS 73-34b:- (When completing this fQ, for instructions see Memorandum SCUS 73-34a.
At
?
couroc outline).
FPA. 140-3
?
INTRODUCTION TO CONTEMPORARY MUSIC
•
?
Enrolment: 40 - 50
The course presents an introduction to contemporary music through a
selection of significant trends and practices which have shaped 20th
century musical thought. The course does not intend to cover the entire
history of music in this century in a systematic or comprehensive manner.
Instead, it will focus on specific concepts which have had a seminal
influence on composition and performance, and moreover which are
amenable to experimentation by the students through projects utilizing
available soundmaking resources. The course will generally follow an
historical path through each theme, relying heavily on in-class
listening to musical examples drawn from throughout the 20th century, as
well as from historical periods and other cultures where appropriate.
Sample Course Outline:
weeks
1 - 2 ?
New Sound Resources (part I) "The Liberation of Sound"
New instrumental colours and combinations (Debussy, Stravinsky,
Schoenberg); use of percussion and new instruments (Varese, Messiaen,
Antheil, Cage); new sound textures (Ligeti, Penderecki,Ives, Xenakis).
3 - 4
?
Voice and Soundmaking: New Resources
. ?
New techniques of vocal expression (Schoenberg, Weill, Webern, Berg,
Stravinsky); extended vocal techniques (Davies, Cage, EVT, Stockhausen,
Oliveros); voice as-source & text-sound composition(Stockhausen,Berio,
Ashley, Amerikhanian, Four Horsemen, Hanson, et al.)
5-7
?
Chance and Indeterminacy
The influence of John Cage; open forms and graphic notation (Brown,
Feldman, Wolff); stochastic processes & probability theory (Xenakis,
Hiller, Truax); randomness as a source of new information; as an
aesthetic position; as a control process; as a performance variable.
8-9
10-il
New Sound Resources (part II) "The emphasis on timbre as a musical variable"
New functional uses of timbre (klangfarbenmelodie, chord as timbre,etc.);
electronic synthesis of timbre(Stockhause,Carlos, Chowning, Risset);
tape music, sound environments (Schaeffer, Schafer, WSP, et al);
new instrumental resources & live electronic manipulation (Globokar,
Stockhausen, Canadian Electronic Ensemble).
Rhythm and Texture
Additive rhythm, polyrhythni (Stravinsky, Bartok, Messiaen, Carter);
repetitive rhythm, phasing, drones (Reich, Riley, Glass, Andriessen,
Young);
o 13
Non-Western Influences
Non-classical-influences (jazz, folk music, music theatre, popular
music); ethnic influences (India, Bali, Java, Ghana, Japan); eclect-
icism & collage.
FPA.140-3 continued
Textbooks and References:
John Cage, Silence.
David Cope, New Music Composition.
Leonard Meyer, Music, the Arts and Ideas.
Michael Nyman, Experimental Music.
Steve Reich, Writings About Music.
R.M. Schafer, Creative Music Education.
Eric Salzman, Twentieth Century Music: An Introduction.
Wilfred Mellers, Caliban Reborn: Renewal in 20th Century Music.
Joan Peyser, Twentieth Century Music.
Henry Pleasants, The Agony of Modern Music.
S
SENATE COMMITTEE ON 1NDERCRADUATILSTUDIES
?
NEW COURSE. PROPOSAL FORM
i. Calendar Information
Abbreviation
Code:FPA.
Title
of Course:
Contemporary Music Performance
Calendar Description of Course: An approach to contemporary music performance based
on free improvisation, linguistic and graphic notation and other performance
techniques using the voice,, the body and various percussion instruments as
performing media.
Nature of Course
?
lecture/studio
Prerequisites (or
special instructions):
FPA. 140
What course (courses), if
any, is being dropped from the calendar
if this course is
approved:
none
2. Scheduling
How frequently will
the course be offered?
?
once per year
Semester in
which the course will first be offered?
?
81-3
Which of your
present faculty would be available to make the proposed offering
possible? ?
new faculty
40
3. Objectives
of the Course
To acquaint the student with music performance techniques which are not usually
encountered through traditional music study, especially at the elementary stage.
The course is designed to free students from preconceived ideas about music-making,
-
?
thus enabling them to extend their music performance potential.
4.
Budgetary
and Space Requirements
.
(for information only)
What additional resources will be required in the following areas:
Faculty
Staff
?
see global resource requirements
Library
Audio Visual
Space
Equipment
Departtnent
Centre for the Arts
Course Number:
240
?
Credit Hours:3
?
Vector: 1-0-3
5, Approval
Date:
iZ2
177
•Department
Chairman
4L'c 7
Dean
?
Chairman,
SCUS
SCUS 73-34b:-
(When completing this form, for
instructions see
Memorandum
SCUS 73-34a.
Attach course outline).
FPA. 240-3
CONTEMPORARY MUSIC PERFORMANCE
Enrolment: 20-25
Lecture Topics
I. An historical look at the "composer as performer" phenomenon, and it's
importance in music history.
II. The human voice as a performing medium.
a.)
The potential of the untrained voice as a musical instrument.
b.) Extended vocal techniques and their importance in contemporary
music practice.
c.)
The terminology and notation of vocal techniques for the composer
and performer.
d.) The spoken word and its use in music performance throughout
music history.
III. Various notational systems used for performance clarity; the advantages
and disadvantages of each in relation to pitch, rhythm, timbre and musical
nuance.
a.)
five line (staff) notation
b.)
graphic notation
c.)
linguistic directional notation
d.)
diagrams as notation
e.)
the effect of visual representation on music performance, and
calligraphy as a notational art form and a necessity to good
performance.
IV. Free improvisation and silence in music performance.
V. The audience as performers.
VI. Visual aspects to music performances; therise of 'theatre pieces' in
contemporary music.
0
FPA. 240-3 CONTEMPORARY MUSIC PERFORMANCE
Studio: ?
This section of the course is designed so that the student may
apply, through collective performance/practice sessions, the
techniouesdiscussed in the Lectures. These sessions will center
around pieces chosen from the contemporary music repertoire that
best illustrate the various performance techniques essential to an
understanding of contemporary music practise. It is also hoped
that these sessions will lead the student to a greater under-
standing and appreciation of the discipline required to create
good music performance.
Selected works to be discussed and/or performed: (others to be added by instructor)
Ashley, Robert In Memoriam Esteban Gomez
Schaefer, R. Murray Epitaph for Moonlight
Riley, Terry In
Cage, John Amores and Aria
Feldman, Morton King of Denmark
Komorous, Rudolf Chanson
Freedman, Harry Keewaydin
Recommended Texts:
Stone, Kurt Music Notation in the Twentieth Century
Cage, John Notations
Cage, John Silence
0
SENATE COMMITTEE ON UNDERCRADUATE STUDIES
NFVi COURSE PROPOSAl. FORN
?
1. Calendar Information
?
Department:
Centre for the Arts
Abbreviation Code:
FPA.
?
Course
Number:-
244
?
Credit Hours:
?
Vector:
_2-O
II
Title of Course:
?
Contemporary Music Composition and Composers
Calendar DecriptiOfl of Course:
A discussion
of the role of the contemporary composer and an analysis of
compositional techniques and notational systems, leading to short compositions
by each student.
Nature of Course
?
lecture/tutorial
Prerequisites (or special instructions):
?
FPA. 140
What course (courses), if any, is being dropped from the calendar if this
course is
approved: ?
none
2.
Scheduling
How frequently will the
course be offered?
?
once per year
Semester in
which the course will first be offered? 81-3
Which of your
present faculty would
be available to make the proposed offering
possible? ?
new faculty
3.
Objectives
of the Course
?
0
To acquaint the student with major works by twentieth century composers as to
what techniques are available for contemporary composition, thereby encouraging
students to apply themselves to elementary exercises in creative music
composition; in addition, to present the role of the composer in its broader
social context.
4.
Budgetary and Space ReguJrerient (for information only)
What additional resources will be required in the following areas:
Faculty
Staff ?
see global resource requirements
Library
Audio Visual
Space
Equipment
5.
Approval
Date: ?
._27
/777
?
c 79
Department Chairman
?
Dean ?
Chairman,' SCUS
SCUS 7
.
-34b:- (When completing this form
s
, for instructions see Memorandum SCUS 73-34a.
Attach-course outline).
FPA 244-3 CONTEMPORARY MUSIC COMPOSITION AND COMPOSERS
Enrolment: 20-25
The lecture portion of this course will deal with the topics listed below.
The tutorials will feature listening to recordings of music by twentieth
century composers that best illustrate the materials discussed in the lecture,
as well as class discussion and analysis of short compositional exercises done
by each student.
I. An introduction to the question of musical form in 20th Century music
composition.
II. The techniques of composition Part I: a). free improvisation
b). restricted improvisation
III. The composer as social critic.
IV. The techniques of composition Part II: Precompositional techniques and
systematic ordering of music
materials in relation to:
a).
pitch
b).
rhythm
c).
timbre
d).
articulation
e).
tempo
V. Composers and compositions in Canadian Music.
VI. The techniques of composition Part III: pieces of music as gradual processes.
VII. The composer as impressario and businessman.
Textbooks
David Cope New Music Corporation
Steve Reich Writings About Music
David Ewen Composers of Tomorrows Music
Walter Zimmerman Desert Plants: Conversations with 23 Musicians
Keith MacMillan and John Beckwith Contemporary Canadian Composers
.
2
4
Compositions to be discussed in tutorials (others to be added by instructor)
Anton Webern Kantata #1
Op.
29
John Cage, David Tudor Indeterminacy
Olivier Messiaen Quartet for the End of Time
Rudolf Komorous Twenty-Three Poems about Horses
John Cage Imaginary Landscape #2 and 4'33"
Steve Reich Four Organs
Terry Riley In C
Edgar Varese Ionization
0
SENATE CO1ITTEE ON UNDERC RADII ATE
?
4
NLV COURSE PROPOSAL. FORM
1. Calendar Information
?
Department:
Centre
for the Arts
Abbreviation
Code:FPA.
?
Course
Number:245
?
Credit flours:3 - Vector:
2-0-4
r4..1n
eif
Cn,tre
?
Music Composition and Performance I
Calendar Description of Course:
?
Exercises and study in the craft of music
composition including improvisational techniques as well as harmonic and melodic
concerns relevant to the twentieth century composer. All students will participate
in the rehearsal and performance of colleagues' compositions.
Nature of Course
?
leüttire/studio
Prerequisit
es
(or
special instructions):
?
A. 240 and FPA. 244 and permission of
the Department. This is a limited entry course. Written permission of the
Department is required in advance of registration.
What course (courses), if any, is being dropped from the calendar if this course
is
approved:
?
none
2.
Scheduj&
flow
frequently will
the course be offered? once per year
Semester in
which the course will first be offered?
?
82-1
Which of your
present faculty would be available' to make'the proposed offering
possible? ?
new faculty
3.
Objectives of the Course To bring together the elements of music composition and
performance as one discipline. The student will learn and apply the various
aspects of the craft of composition, as well as have the opportunity to 'hear
this work rehearsed and performed in a controlled environment.
4.
Budgetary and Space Requirements (for information only)
What additional resources will
be required in the following areas:
'Faculty
Staff ?
see global resource requirements
Library
Audio Visual
Space
Equipment
5. Approval
Date:
?
2-7
17
?
44c 9
SDepartment Chairman
?
Dean
Chairman, SCUS
SCUS 73-34b:-
(When completing this form, for instructions see Memorandum SCUS73-34a.
A'tsrh
enurne outline).
FPA. 245-3 MUSIC COMPOSITION AND PERFORMANCE I
Enrolment: 15 students
This course is primarily concerned
with
the "conception to realization"
format, (i.e., from the initial stages of a composition, its genesis or
original idea, through to the completion of that idea as a finished compos-
ition and its subsequent realization as a performance).
With this idea in mind, it is necessary to begin to apply, through a
simple, step-by-step procedure, the techniques and concepts discovered in
FPA. 140, 240 and 244. The lectures will present the elementary compositional
techniques outlined below through examples and listening. The student will
then be required to apply these techniques to original compositions using
each technique alone to create a piece of music. These pieces will then be
brought to the workshops where they will be rehearsed, performed and analysed.
Thus it is hoped that the student will gain a better understanding of the
compositional process through a step-by-step, yet comprehensive and accumula-
tive knowledge of the techniques involved.
Lecture Topics
1). Organization of
.
simple pitch structure: Monophonic sound (melody)
a)
fixed pitch instruments
b) the voice
A discussion of retrograde,, inversion, retrograde-inversion, augmentation,
dimunition, octave displacement, etc. Pitch is the main concern of this
exercise, and other music parameters such as rhythm, timbre, etc., are
not part of the primary focus.
2). Language and Text Usage
Compositions using the human voice. Sound poetry, syllabic repetition,
vocal burn, tongue clicks, etc., as well as monophonic pitch compositions
using text.
2
3).
Organization of Harmonic Concerns
Non-functional harmony in quick harmonic rhythm and steady-state drone
pieces with slow harmonic rhythm.
4).
Dynamics, Articulation and Silence
An intensive discussion of these important musical concerns and the
various ways of notation in regard to their performance. Also, the
student will become aware of the importance of silence in music
compositions.
Text
Robert Cogan and Pozzi Escot. Sonic Design: The Nature of Sound and
Music. ?
. ?
.
Compositions for Analysis
Robert Ashley, She Was A Visitor
Morton Feldman, Last Piano Pieces
Richard Wagner, Prologue to Das Rheingold.
Pauline Oliveros. Sonic Meditations
Steve Reich, Music for Mallet Instruments, Organ and Voices
Karlheinz Stockhausen. Stimxnung
John Cage, Aria
Luciano Berio, Sequenza III
Frederick Rzewski, Coming Together
0
SENATE
CO11TTEE ON
UNDERGRADUAT
E
STUDIES
,!
COURSE
PROPOSAL.
FORM
1.
?
?
Department: Centre for the Arts
?
Calendar Information
Abbreviation
Code:YPA.
?
Course Number:
?
340 ?
CreditHours:
T
Vector:
?
III
Title of
Course:
?
Music Composition and Performance II
Calendar Decriptiofl
of Course:
Advanced
studynd exercises in the craft of music
composition, with emphasis on the t,arameterS of rhythm, texture, timbre and
space. Various performance techniques will be discussed and practised in
relation to composition work done by each student.
Nature of
Course ?
lecture/studio
Prerequisites
(or special instructions):
?
FPA. 245 and. permission of the Department.
This is a limited entry course. Written permission of the Department is
required in advance of registration.
What course (courses), if any, is being dropped from the calendar if this, course is
approved:
?
none
2.
Scheduling
Bow frequently
will the course be offered? once per year
Semester in
which the course will first be offered? 82-3
Which of your present faculty would be available to make the proposed offering
possible7 ?
new faculty
3.
ObjectivesoftheCourse
see objectives for FPA. 245
4.
BudgetarY
and Space Regu1remej (for information only)
What additional resources will be required in the following areas:
Faculty:
Staff ?
see global resource requirements
Library
Audio Visual
Space
Equipment
5.
Approval
Datc:22',-
2?_/77,?
Department Chairman
?
Dean
?
Chairman,
SCUS fl-34b:- (When completing this form, for instructions see Memorandum SCUS
73-34a.
Attach
?
Cioe outline).
FPA. 340-3 MUSIC COMPOSITION AND PERFORMANCE II
Enrolment: 12-15
0
??
This course is an extension of the philosophy surroundingFPA. 245;
that is, the "conception to realization" format in relation to music
composition and performance. However, in this course, new compositional
techniquwill be discussed which are then applied by students in the form
of new music compostions.
1)
Timbre: The concept of tone color; klangfarbenmelOdie; timbre and
pitch; attack and timbre; and the organization of various
timbres for notational purposes.
2)
Rhythm: A discussion of the cause and effect of vibrato, "beats";
and an intensive discussion and application of additive
rhythm, polyrhythm, and repetitive rhythm.
3). Texture: Composite textural effects, masses of sound, contrapuntal
and rhythmic layers of sound. Polyphony in pitch.
4) Space: The performing space, spatial aspects to sound, the position
of the audience and performers, timbral and textural
applications in relation to a large performing space.
Texts
Robert Erickson, Sound Structure in Music
Robert Cogan and Pozzi Escot, Sonic Design: The Nature of Sound and
?
Music
Compositions for Analysis
Claude Debussy, Nocturnes
Krzysztof Penderecki, Threnody to
I
the Victims of Hiroshima
0
2
Gyorgy Ligeti, Atmospheres
Anton Webern, Five Pieces for Chamber Orchestra.
?
.
Edgar Varese, Deserts
Igor Stravinsky, The Rite of Spring
Jo Kondo, Standing
John Cage, Winter Music
.
0
SENATE COMMITTEEON UNDERC RADII ATE STUDIFS
IFI
COURSE PROL'O$AL. PORN
?
1. Calendar lnformatl
?
Department:Centre for
the Arts
Abbreviation
Code:FPA.
?
Course
Number:341
?
Credit Hours:
3
?
Vector: 2-0-4.
Title of Course:
Music Composition and Performance III.
Calendar
Description of
Course: ?
An extension of work undertaken in FPA. 245 and
FPA. 340. The course will emphasize collaboration between music and the other
arts, with student work involving mixed-media performance and composition
techniques.
Nature of Course
?
lecture/studio
Prerequisit
es
(or special instructions):
FPA. 340 or one of FPA. 221, 231, 251, 261.
What course (courses), if any, is being dropped from the calendar
if this
course is
approved:
?
none
2.
Scheduling
How frequently will
the course be offered?
,
?
once per year
Semester in
which the course will
first be offered?
?
83-1
Which of your
present faculty would be available to make the proposed
offering
possible? '
?
new faculty
3.
Objectives
of the Course
As well as continuing the objectives of FPA. 245 and FPA. 340, this course
will enable students in the other arts to participate in collaborative work
involving music.
4.
Budgetary
and Space Require
.
ments
(for information only)
What additional resources will be required in the following areas:
Faculty
•Saff ?
see
global resource requirements
Library ?
.
Audio Visual
Space
Equipment
5.
Approval
Date:
?
2-7 /2 ) -
?
(C
7?
?
•
Department Chairman
?
Dean ?
Chairman,
SCUS
SCUS 73-34b: (When completing this form, for instructions
see Memorandum SCUS 73-34a.
Attach course outline).
FPA. 341-3
?
MUSIC COMPOSITION AND PERFORMANCE III
Enrolment: 12 - 15
This course is designed for two different groups of students:
1)
Music minors, as a continuation of their creative, technical
development in composition (FPA.340 pre-requisite);
2)
FPA students, as an upper-level credit course, designed to foster
an interdisciplinary approach to the arts.
The course is concerned with music composition in relation to the other
arts, and in the combination of live performance with electroacoustic
composition. The lectures will consist of presentations and analyses
of such "mixed media" works, focussing in particular on cases where a
strong degree of interaction occurs between media, and those cases where
one medium is subservient to the other (e.g. "sound effects","background
music", etc.). Student compositional work will involve the composition
and realization within the ?
studio
?
format of mixed media pieces.
FPA. students who have not taken music composition courses will be asked
either to work in collaboration with the music students, drawing on the
discipline strongest in their own background, or else will conduct
analyses or critiques of existing works, or works currently in production
in the class or elsewhere locally. Thus, the course offers a collaborative
framework within which production, analysis and criticism can be practiced.
The course may be team-taught.
Lecture Topics:
1.
General Concepts: time, space, movement, colour, form, transformation,
process....
2.
Music and Theatre::
- Stravinsky in the Theatre; Puccini-realism; Brecht-Weill;
Strauss von Hoffmansthal; Schoenberg,. Berg & the psychological
drama; Stein-Thomson;
- Gershwin, Bernstein and musical theatre; "happenings", Cage,
mixed media;
- contemporary music theatre(Kagel, Berio, B.Schaeffer, Nono,
Ligeti, Davies).
3.
Music and Dance:
- Debussy (Jeux), Stravinsky, Sàtie & Cocteau; Graham & Copland;
- Cunningham & Cage; Balanchine & Stravinsky;
- contemporary directions & eclecticism.
FPA. 341-3 continued
4.
Music and the Visual Arts:
- Dada, futurists, surrealists; cubism & impressionism;
Schoenberg-Kandinsky; Klee-Mondrian-Webern; Rousseau-Satie;
- New York: Cage, Feldman, Brown - Rothko, Johns, Rauschenberg,
Pollock;
- instrument design (Partch); sound sculpture; environmental
music and art;
- "happenings", conceptual art & music, performance art.
5.
Music and Film:
- film music: borrowed vs original (e.g. from Eisenstein-Prokofiev
to Kubrick);
- illusion and reality in film and music; new syntax & time
organization (Resnais, Godard, Antonioni);
- conceptual approaches to sound-image construction in experimental
film.
6.
Live Performance and Electronics:
- performers and tape (Stockhausen, Varese, Bruynl, Davidovsky,
Risset, various Canadian composers);
•
?
- techniques and concepts of interaction; scoring and notation:
descriptive and prescriptive; live electronics.
[]
• ?
* ?
SENATE COMMITTEE ON UNDERCRADUATE STUDIES
NEW COURSE
'
PROPOSAL.
FORN
Centre for the Arts
1. Calendar Information
?
Department.
AbbOvi8ti0fl Code: F.
?
Course
Number:347
?
CreditHours:
TTtorIjj
Title of Course:
?
Introduction to Electronic Music Composition
Calendar DecriPtiOfl
of Course: An introduction to the history, theory and practice
of electronic music synthesis and composition. Compositional work will focus
on the principle of voltage control as used In the electronic music synthesizer,
and on related techniques for live electronic performance. Students will have
the opportunity for practical compositional work.
Nature of Course
?
tutorial/studio
Prerequisites (or special instructions):
?
CNNS 258 or CNNS 259 and FPA. 244
What course (courses), if any, is being dropped from the calendar if this course is
approved:
?
none
2. Scheduling
How frequently will
the course be offered?
?
once per year
Semester in which the course will first be offered?
?
81-3
Which of your present
faculty would be available to make the proposed
offering
possible7 ?
new faculty
0
3. Objectives of the Course
To familiarize the student with the principle of voltage control
as used in
electronic music synthesis and composition; to provide practical
experience in
electronic music composition
?
to provide an understanding of the
historical
and
technical developments which have influenced the area, and created its
of the equipment in composition,
live
limitations; to explore the different usages
performance, and interaction with other media and art forms.
(for information only)
4.
?
Budgetary
_
and Space RequJretne!
.
.
What additional resources will be required in the following areas:
Faculty
Staff ?
see global resource requirements
Library
Audio Visual
Space
Equipment
5. Approval
Date:'2Y2
279'
-
Department Chairman
?
Dean ?
Chairman, SCUS
SCIJS 73-34b:- (When completing this fOrm, for instructions see Memorandum SCUS 73-34a.
Attacli'couruc outline).
FPA. 347-3
?
INTRODUCTION TO ELECTRONIC MUSIC COMPOSITION
• ?
Enrolment: 12
An introduction to the history, theory and practice of electronic music
synthesis and composition. The course will focus on the principle of
voltage control as used in the electronic music synthesizer, both for
micro-level control of sound synthesis, and for macro-level compositional
control. Techniques used in the practice of live electronic music will
also be presented. Examples of the major trends and figures in electronic
music from 1948 to the present will be considered, as well as some of the
historical precedents from earlier in the century. Students will have the
opportunity of practical compositional work with the facilities of the
Electronic Music Studio.
Texts: Jon H. Appleton and R.C. Perera, eds.,- The Development and Practice
of Electronic Music, Prentice-Hall, 1975
FrIts Weiland, Musical Aspects of the Electronic Medium, Institute
of Sonology, Utrecht, 1975
Allen Strange, Electronic Music, W.C. Brown, 1972.
Hubert S. Howe Jr., Electronic Music Synthesis, Norton, 1976
Course Topics
1.
Pre-History (1900-1948): the new technologies, aesthetics, syntax and process
-Edison and Poulsen: Busoni, Varese, Russolo, Dadaists; Theremin, Trautwein,
Martenot, Hammond, Sala, Bode; Antheil, Cage; Le Caine, Maclaren.
2.
The Early Years (1948-60): the intellectual climate (information theory
and cybernetics; serialism in postwar Europe; acoustics and electroacousticS;
linguistics).
3.
Electronic Music Composition: the classical techniques; additive and sub-
tractive synthesis; splicing and montage; materials and transformations.
- selected works of Schaeffer, Stockhausen, Varese, Berio, Ussachevsky and
Luening; Cage, Le Caine.
4. Introduction to Voltage Control: the principle of control voltages and its
application to sound parameters; modulation (AN, FM); control voltage sources;
gating, equalization and filtering, mixing and panning, reverberation).
5.
voltage Control Composition: micro-level control and macro-level control;
- theory and application (Koenig, Subotnick, Carlos, Martirano, LeCaine)
6.
Synthesizer Design: The major historical models (Moog, Buchia, EMS, Arp)
and their design premises; keyboards, sequencers, digital memories, other
input devices.
7.
Live Electronics and Mixed Media: Ashley, Behrman, Can. Elec. Ensemble,
Oliveros.
8.
Recent Trends: A survey of European and N. American studios recent works
and styles.
1
1%. -,
• ?
SENATE cOtUiITTEE ON UNDERC
RADII ATE STUDIES
NEW
COURSE. P
R
OPOSAL. PORN
1. Calendar Information
?
Department:
Centre
for the Arts
Abbreviation
Code: "A
*
?
Course
Number:
348 ?
Credit
Hours: 3 ?
Vector:023
c
rniir • ?
Introduction to Computer Music Composition
Calendar Description
of Course: An introduction to the history, theory and practice
?
of digital techniques and computer systems as applied to sound synthesis and
music composition. The course will consider the major types of hardware and
software systems developed for music from 1955 to the present, and will discuss such
issues as machine programmability, user interaction, acoustic models for sound
synthesis, and compositional algorithms. Students will have the opportunity for
Nature of Course
tutorial/studio
?
Ipractical compositional work.
Prerequisites (or special instructions):
CMNS 258 or CNNS 259 and PTA. 244
MPT 001 strongly recommended.
What course (courses), if any, is being dropped from the calendar
if this course is
approved:
?
none
2. Scheduling
How frequently will
the course be offered?
?
once pe year
Semester in
which the course will first be offered?
?
82-1
Which of your
present faculty would be available to make the proposed
offering
possible? ?
new faculty
3.
Objectives
of the
To familiarize the student with the principles of digital synthesis, compositional
algorithms, and interactive composer-machine communication; to provide practical
experience in computer music synthesis and composition; to provide an understanding
ofthe historical and technical developments which have influenced the area, and
created its limitations; to explore different concepts of system design as related
to music composition,
live
perQrma1Ce eduçation.l applications, etc.
4.
Budgetary and Space ReguJremej
.
tor tnt6rmatl-ofl onLy)
What additional resources will
be required in the following areas:
Faculty.
see global resource requirements
Saf
Library
I
Audio Visual
Space
Equipment
. Approval
Date: ?
-
2
..
?
Department Chairman
?
NOMS
?
Chairman,
SCUS
SCUS 73-34b:-
(When completing this form, for instructions
see Memorandum
SCUS
73-34a.
Attach course outline).
FPA.348-3 ?
INTRODUCTION TO COMPUTER MUSIC COMPOSITION
Enrolment: 12
An introduction to the history, theory and practice of digital techniques
and computer systems as applied to sound synthesis and music composition.
The course will consider the major types of hardware and software systems
developed for music from 1955 to the present, and will discuss the musical
issues involved in machine programmability, user interaction, acoustic models
used in sound synthesis, compositional algorithms, and so on. Students will
have the opportunity of practical compositional work with facilities of the
Computer Music Workshop.
Texts: W. Buxton, "A Composer's Introduction to Computer Music, " Interface,
vol. 6, 1977, pp. 57772.
B. Truax, "A Communicational Approach to Computer Sound Programs,"
Journal of Music Theory, vol. 20, no. 2, 1976.
B. Truax, "Computer Music Composition: The Polyphonic POD System,"
IEEE Computer, Aug. 1978,
pp.
40-50
B. Truax & J. Barenholtz, "Models of Interactive Computer Composition",
Proceedings of the Third International Conference on Computing in tl1ie
Humanities, University of Waterloo Press, 1977.
M. Mathews, The Technology of Computer Music, MIT Press, 1969.
H.S. Howe, Electronic Music Synthesis, Norton, 1975.
(note: a wide variety of current articles are found in the Computer
Music Journal)
Course Topics:
1.
Basic Concepts: Hardware/Software; synthesis; conversion; programs; interactive
and batch-processing; digital control of analog/digital hardware.
2.
Synthesis methods: waveform & additive; frequency modulation; VOSIM; wave-
shaping; synthesis by analysis and synthesis by rule; non-standard
approaches; unit generators and other software simulations.
3.
Compositional systems: algorithmic approaches (Hiller, Koenig, Xenakis,
Howe); MUSIC V types systems (Mathews, Vercoe, Chowning); interactive
approaches (Truax, Buxton).
4.
The POD System: conceptual and pragmatic design; frequency modulation
synthesis & stochastic compositional control; polyphonic system.
5.
Live Performance Systems: Synclavier (Appleton); GROOVE (Mathews);
Kobrin, Buxton.
6.
Educational Applications: interactive learning systems (LOGO, et al); CAI
approaches.
mi
7.
Computer Music Composition: works by Chowning, Wiggen, Risset, Appleton,
Ungvary, Xenakis, Hiller, Truax, et al.
8.
Current Directions: Stanford, MIT, Utrecht, Paris (IRCAN), Stockholm;
microprocessors and digital hardware.
S
0
SENATE COMMITTEE ON UNDERCRADUTE STUDIES
NEVCOURSE PROPOSAL FORN
?
1. Calendar Information
?
Department:
?
Centre for the Arts
Abbreviation Code:
FPA.
?
Course
Number:44
8 ?
Credit
Title of Course:
Directed Study in Music Composition
Calendar Description
of Course: ?
Directed project in music composition. The
project will be selected in consultation with the supervising instructor.
Project proposal must he approved prior to registration..
Nature of Course
?
directed study
Prerequisites (or special
instructions):
?
EPA. .341
What course
(courses),
if any, is
being dropped from the calendar
if this course is
approved:
?
none
2.
Scheduling
How frequently will the course be offered?
?
each semester
Semester in which the course will first be offered?
83-1
Which of your present
faculty would
be available to make the proposed offering
possible?
?
new faculty,
3.
Objectivcs of the Course
To allow independent, extended work under supervision as a continuation
of work undertaken in FPA. 245, 340 and 341.
4.
Budgetary and Space
?
rements
(for information only)
What additional resources will be required in the following areas:
Faculty
Staff -
?
see global resource rectuirements
Library
Audio Visual
Space
Equipment
S
5. Approval
Date: ?
2?/72,Y
Department Chairman
-
?
ec7q -
JLQJQYe
Dean
Chairman, SCUS
SCUS 73-34b:- (When completing this for; for instructions see Memotándu SCUS ?3-34a.
Attach cou?ue outline).
Chairman,
SCUS
SENATE
COt*IITTEF
ON UNDERCEADUAT
E
STUDIES
NEW COURSE PROPOSAL. PORN
1. Calendar InformatiOfl.
?
S ?
Department:Centre for the Arts
Abbreviation
Code:
FPA.
?
Course
Number: ?
449 ?
Credit Hours:
5 ?
Vector:_________
Title of Course:
?
Directed Study in EiectrOacOUSt1c Music Composition
Calendar DecriPti0fl
of Course: ?
Directed project in electroacoustic music
composition. The project will be selected in consultation with the supervising
instructo ?
Project proposal must he approved prior to registration.
Nature of Course
?
directed study
Prerequisit
es
(or special instructions):
FPA.
347 or
FPA.
348
What course (courses), if any, is being dropped from the calendar if this course is
approved:
?
none
2.
Sche3u1ifl&
flow
frequently will
the course be offered? each sentc.ster
Semester in
which the course will first be offered?
?
82-1
Which of your
present faculty would be available to make the proposed
offering
possible? ?
Truax or new faculty
3.
Objectives
of the Course
To allow independent, extended work under supervision as a continuation
of work undertaken in either
FPA.
347 or
FPA.
348.
4.
Budgetary
and
Space ReguJreme
.
(for information only)
What additional resources will be required in the following areas:
Faculty
see
global resource reciuirementS
Staff
Library
Audio Visual
Space
Equipment
5. Approval
Date:
2-2 _/72
•Department Chairman
sCUS 73-34b:- (When completing this form, for instructions see Memorandum SCUS 73-34a.
Attach course outline).
SiMON FRASER UNIVERSITY ?
MEMORANDUM
3L.1
'/'-64
# p
,E/vl/x r
...........Senate Committee on Undergraduate
?
From.
?
Gene Bridwell, Head Humanities Lib
Studies
?
David Maclntyre
9
Centre for.the Arts
Subject...
Minor in Contemporary Music
?
Date. ?
79.12.12 ?
.
?
.
The Library related expenses for this programme are as follows:
Recordings (including taping by Audio Visual) ?
$5000
Music scores (c.
250
scores at
$20
average price)
?
5000
Serials (both current subscriptions and backfiles)
?
2000
$12000
It must also be noted that music scores, being a unique kind of
material, will also have an effect on Monographs, one of the Library's
processing units. Many of the contemporary scores may require original
cataloguing (the costliest form of cataloguing). They will all need
special preparation to be put into circulation (pam binding and taping)
at about $7.00 each. Finally, slotted shelves to hold such materials
cost $400 per bay (one double-faced unit of 12-14 shelves) installed.
(. ?
cC
c. J. Munro, V.P. Acadeqic
? . . .
...............
j
.
