Department of Music

Music Composition Handbook

Academic Year 2013-2014

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CONTENTS CONTENTS 2 WELCOME 3 CONTACT INFORMATION 4 HEALTH & SAFETY FOR COMPOSERS 5 THE BACHELOR OF MUSIC IN COMPOSITION MAJOR 7 COMPOSITION SCHEDULE (2013-2014) 11 SOFTWARE 12 THIRD & FOURTH YEAR SUMMARY 12

COMPOSITION PORTFOLIOS 13

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WELCOME

Welcome to all of our new and continuing composition majors!

The purpose of this handbook is to help guide you in your music composition studies at Marylhurst. It supplements the 2013-2014 University Catalog and details many of the requirements, procedures, and guidelines that apply to the Bachelor of Music in Composition degree.

Although we make every effort for the handbook to be accurate, there are bound to be some discrepancies and omissions. If you find that, while you read and use this handbook, you have suggestions, comments, and/or revisions, please send them my way. Together with input from students, faculty and staff, we can make next year’s handbook even better.

John Paul, D.M. Chair, Department of Music The Joseph Naumes Endowed Chair in Music

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CONTACT INFORMATION Marylhurst University Music Department Local calls 503.699.6263

Toll-free 1.800.634.9982, ext. 6263

Email music@marylhurst.edu

Composition Faculty Haek, John Advanced Analysis, Counterpoint (full-time)

503.636.8141 ext. 3364 jhaek@marylhurst.edu Paul, John Department Chair (full-time)

503.534.4018 jpaul@marylhurst.edu Priest, Bob Private Composition teacher (part-time, off-campus)

rpriest@marylhurst.edu Whitmore, Peter Orchestration (part-time, on-campus)

503.636.8141 ext. 3364 pwhitmore@marylhurst.edu

Program Assistant McBride, Julia Department Staff Assistant

503.699.6263 jmcbride@marylhurst.edu or music@marylhurst.edu

Marylhurst University Main Switchboard Local calls 503.636.8141

Toll-free 1.800.634.9982

Weather Status Line: 503.636.8140

Fax: 503.636.9526

Website Information for current music students is found under “Resources” from the Department of Music’s website: http://www.marylhurst.edu/music

Whether it is updated handbooks, proficiency standards, or forms, the department’s resource tab should be the first place you should look.

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HEALTH & SAFETY for COMPOSERS Protecting Your Hearing Health (Adapted from NASM – PAMA Student Information Sheet) • Hearing health is essential to your lifelong success as a musician.

• Your hearing can be permanently damaged by loud sounds, including music. Technically, this is called Noise-Induced Hearing Loss (NIHL). Such danger is constant.

• Noise-induced hearing loss is generally preventable. You must avoid overexposure to loud sounds, especially for long periods of time.

• The closer you are to the source of a loud sound, the greater the risk of damage to your hearing mechanisms.

• Sounds over 85 dB (your typical vacuum cleaner) in intensity pose the greatest risk to your hearing.

• Risk of hearing loss is based on a combination of sound or loudness intensity and duration.

• Recommended maximum daily exposure times (NIOSH) to sounds at or above 85 dB are as follows:

o 85 dB (vacuum cleaner, MP3 player at 1/3 volume) – 8 hours

o 90 dB (blender, hair dryer) – 2 hours

o 94 dB (MP3 player at 1/2 volume) – 1 hour

o 100 dB (MP3 player at full volume, lawnmower) – 15 minutes

o 110 dB (rock concert, power tools) – 2 minutes

o 120 dB (jet planes at take-off) – without ear protection, sound damage is almost immediate

• Certain behaviors (controlling volume levels in practice and rehearsal, avoiding noisy environments, turning down the volume) reduce your risk of hearing loss. Be mindful of MP3 earbuds. See chart above.

• The use of earplugs and earmuffs helps to protect your hearing health.

• Day-to-day decisions can impact your hearing health, both now and in the future. Since sound exposure occurs in and out of school, you also need to learn more and take care of your own hearing health on a daily, even hourly basis.

• It is important to follow basic hearing health guidelines.

• It is also important to study this issue and learn more.

• If you are concerned about your personal hearing health, talk with a medical professional.

• If you are concerned about your hearing health in relationship to your program of study, consult the appropriate contact person at your institution.

This information is provided by the National Association of Schools of Music (NASM) and the Performing Arts Medicine Association (PAMA). For more information, check out the other NASM-PAMA hearing health documents, located on the NASM Web site at the URL linked below: http://nasm.arts-accredit.org/index.jsp?page=NASM-PAMA_Hearing_Health See Protect Your Hearing on the department’s resource webpage for an extended discussion.

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Protecting Your Neuromusculoskeletal Health at the Computer (Adapted from NASM – PAMA Student Information Sheet)

• Neuromusculoskeletal health is essential to your lifelong success as a musician.

• While we understand that practicing and performing music is physically demanding, so is working at the computer. Inputting music into a software notation program or editing digital audio or MIDI.

• Musicians are susceptible to numerous neuromusculoskeletal disorders.

• Some musculoskeletal disorders are related to behavior; others are genetic; still others are the result of trauma or injury. Some genetic conditions can increase a person’s risk of developing certain behavior-related neuromusculoskeletal disorders.

• Many neuromusculoskeletal disorders and conditions are preventable and/or treatable.

• Sufficient physical and musical warm-up time is important.

• Good posture at the computer and correct physical technique are essential.

• Regular breaks during computer time is vital in order to prevent undue physical stress and strain.

• It is important to set a reasonable limit on the amount of time that you spend at the computer.

• Avoid sudden increases of time at the computer.

• Know your body and its limits, and avoid “overdoing it.”

• Maintain healthy habits. Safeguard your physical and mental health.

• Day-to-day decisions can impact your neuromusculoskeletal health, both now and in the future. Since muscle and joint strains and a myriad of other injuries can occur in and out of school, you also need to learn more and take care of your own neuromusculoskeletal health on a daily basis, particularly with regard to your performing medium and area of specialization.

• If you are concerned about your personal neuromusculoskeletal health, talk with a medical professional.

• If you are concerned about your neuromusculoskeletal health in relationship to your program of study, consult your applied teacher, your academic advisor or department chair.

This information is provided by the National Association of Schools of Music (NASM) and the Performing Arts Medicine Association (PAMA). For more information, check out the other NASM-PAMA neuromusculoskeletal health documents, located on the NASM Web site: http://nasm.arts-accredit.org/index.jsp?page=NASM PAMA:%20Neuromusculoskeletal%20and%20Vocal%20Health

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The Bachelor of Music in Composition Major Students entering the program in Fall 2013 will follow the degree requirements listed in the 2013-2014 University Catalog (which follows). Students previously entering the program will follow the degree requirements listed in previous catalogs. The only difference between 2012-2013 and 2013-2014 programs is the change in general education requirements. 2013-2014 Catalog program The Bachelor of Music in Composition is the initial professional degree in music composition and provides musical training to prepare students for careers as composers. In addition to demonstrating professional, entry-level competence in composition, graduates of the program will acquire musicianship skills to an advanced level, obtain broad knowledge of musical language and literature, and develop teaching skills related to music composition and theory. Career Paths Although there are few full-time positions for composers, many create careers by working independently, composing, performing and teaching. The program prepares graduates for work in film, television and game industries, if they so choose. The program also prepares students for further graduate studies in composition or other music fields. Admission Entry into the program is selective by audition and a portfolio. In addition to the music admissions process, students desiring to pursue the composition major need to submit a portfolio of original compositions. Acceptance is determined by music faculty and university admission staff. Program Learning Outcomes

Students with a Bachelor of Music in Composition will be able to:

1. Demonstrate all the learning outcomes of the Marylhurst music core.

2. Use a variety of compositional techniques to create a unique body of music that is informed by contemporary concepts, materials and forms, and that is idiomatically written for various instrumental, vocal and technologically mediated forces.

3. Demonstrate competence in the various tools used by composers, including advanced analysis, counterpoint, orchestration, technological media and advanced keyboard skills.

4. Demonstrate competence in teaching music theory.

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Midpoint Review A career in composition requires strong skills in compositional technique, musicianship and analysis. At the end of the program’s second year, the composition faculty will review the student’s composition projects and progress in the music core to determine if they can move into advanced coursework of the major. If students are not making satisfactory progress through the music core or are earning grades lower than a B- in composition and theory courses, the faculty will meet with the student to discuss degree options. Composition majors must pass MU 299 before taking private composition lessons (MUP 380) or 400-level composition courses. Composition Portfolios Throughout the third and fourth year of the program, composition majors will complete projects that will be publicly performed during the term by specific ensembles in residence. Students will receive help in completing these assignments through their private composition lessons (MUP 380 and MUP 480), and through coursework such as the orchestration sequence (CMP 401, CMP 402 and CMP 403). At the end of the third and fourth years, after these projects have been publicly performed, students will discuss their year’s work at the portfolio presentation (CMP 390 and CMP 490). Summary of Degree Requirements

Major Requirements 124 credits Marylhurst Core Requirements 51 credits

Requirements satisfied within the major: Intellectual Breadth: Institutions and Communities, Global Society Note: No other courses in the major may be used to meet Intellectual Breadth requirements in the core. For Creating the Arts and Interpreting the Arts, students must take a course in an area other than music.

General Electives 5 credits

Total credits required for degree 180 credits

Major Requirements

At least 30 credits of music coursework must be earned from Marylhurst University. Coursework with a grade less than B- will not be applied toward any composition (CMP) course. Coursework with a grade less than C will not be applied toward any music core (MU, ENS or MUP) course. Composition - 50 credits

CMP 300 Music Notation: Theory and Practice 2 crs. CMP 311 Composers Toolbox I 3 crs. CMP 312 Composers Toolbox II 3 crs. CMP 313 Composers Toolbox III 3 crs. CMP 324 Music Technology I: Digital Audio 3 crs. CMP 325 Music Technology II: Synthesis 3 crs. CMP 326 Music Technology III: Film Scoring 3 crs. CMP 390 Junior Portfolio: Composition 0-1 crs. (1 credit required) CMP 401 Orchestration I 3 crs. CMP 402 Orchestration II 3 crs. CMP 403 Orchestration III 3 crs. CMP 411 Sixteenth-Century Counterpoint 3 crs. CMP 412 Eighteenth-Century Counterpoint 3 crs. CMP 414 Advanced Analysis 3 crs.

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CMP 481 Pedagogy of Music Theory 3 crs. CMP 490 Senior Portfolio: Composition 0-1 crs. (1 credit required) CMP 491 Core Capstone for Composers 1 cr. MUP 380 Composition Studies I 1 cr. (taken for 3 terms) MUP 480 Composition Studies II 1 cr. (taken for 3 terms) Fundamentals - 0 credits

Theory Fundamentals Proficiency (non-credit) or MU 110 Music Theory Fundamentals 3 crs. Aural Fundamentals Proficiency (non-credit) or MU 115 Aural Fundamentals 2 crs. Keyboard Fundamentals Proficiency (non-credit) or MU 116 Keyboard Fundamentals 2 crs. Performance in Ensembles - 13 credits

ENS 2** Major Ensemble 1 cr. (taken for 6 terms) ENS 300 Small Ensemble 0.5 crs. (taken for 2 terms) ENS 4** Major Ensemble 1 cr. (taken for 6 terms) Performance on Primary Instrument - 12 credits

MUP 2** Applied Music 1, 1 cr. (taken for 6 terms) MUP 4** Applied Music 2, 1 cr. (taken for 6 terms) Functional Keyboard Skills - 5 credits

MU 150 Diatonic Keyboard Skills I 1 cr. MU 151 Diatonic Keyboard Skills II 1 cr. MU 250 Chromatic Keyboard Skills I 1 cr. MU 251 Chromatic Keyboard Skills II 1 cr. CMP 252 Advanced Keyboard for Composers 1 cr. NOTE: Piano and organ students substitute the following: Functional Keyboard Proficiency MU 255 Techniques of Accompanying 2 crs. CMP 252 Advanced Keyboard for Composers 1 cr. MU *** Upper-level music electives 2 crs. Functional Vocal Skills - 2 credits

MU 124 Vocal Skills 2 crs. NOTE: Voice students substitute the following: MU 140 Diction for Singers 2 crs. Musical Language and Analysis - 10 credits

MU 125 Diatonic Musical Language I 2 crs. MU 126 Diatonic Musical Language II 2 crs. MU 225 Chromatic Musical Language I 2 crs. MU 226 Chromatic Musical Language II 2 crs.

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MU 227 Formal Analysis 2 crs. Aural Skills - 8 credits

MU 135 Diatonic Aural Skills I 2 crs. MU 136 Diatonic Aural Skills II 2 crs. MU 235 Chromatic Aural Skills I 2 crs. MU 236 Chromatic Aural Skills II 2 crs. Music History and Literature - 15 credits

MU 261 Global Music 3 crs. MU 262 Introduction to Western Music 3 crs. MU 361 Music Literature I: Before 1600 3 crs. MU 362 Music Literature II: 1600-1820 3 crs. MU 363 Music Literature III: After 1820 3 crs. Concert Attendance - 0 credits

MU 284 Concert Attendance 0 crs. (taken each term for 12 terms) Additional Requirements - 6 credits

MU 221 Introduction to Music Technology 2 crs. MU 237 Improvisation Workshop 2 crs. MU 299 Upper-Level Gateway 0 crs. MU 341 Introduction to Conducting 2 crs. Music Electives - 3 credits

At least 3 crs. in upper-level music electives. Total for the Major: 124 credits

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COMPOSITION SCHEDULE (2013-2014)

Fall Term 1 Winter Composition Term 2 Spring Composition Term 3 Focus on all aspects of Music Core: Focus on all aspects of Music Core: Focus on all aspects of Music Core: Musical Language

Aural Skills Keyboard Skills Applied Music Ensembles

Musical Language Aural Skills Keyboard Skills Applied Music Ensembles

Musical Language Aural Skills Keyboard Skills Applied Music Ensembles

Year 2 Offered every year

Fall Composition Term 4 Winter Composition Term 5 Spring Composition Term 6 Continue focusing on Music Core Continue focusing on Music Core Continue focusing on Music Core CMP 300 Notation (or year 3) CMP 252 Advanced Keyboard for

Composers (or year 3) CMP 311 Composers Toolbox I CMP 312 Composers Toolbox II CMP 313 Composers Toolbox III Midpoint Review

Year 3 2013-2014

Fall Composition Term 7 Winter Composition Term 8 Spring Composition Term 9 Continue focusing on Music Core Continue focusing on Music Core Continue focusing on Music Core MUP 380 Composition Studies I MUP 380 Composition Studies I MUP 380 Composition Studies I

*CMP 324 Music Technology I: Digital Audio

*CMP 325 Music Technology II: Synthesis

*CMP 326 Music Technology III: Film Scoring

*CMP 411 16th-Century Counterpoint *CMP 412 18th-Century Counterpoint *CMP 414 Advanced Analysis CMP 390 Junior Composition Portfolio

Year 4 2014-2015

Fall Composition Term 10 Winter Composition Term 11 Spring Composition Term 12 Continue to focus on Music Core, especially applied and ensemble

Continue to focus on Music Core, especially applied and ensemble

Continue to focus on Music Core, especially applied and ensemble

MUP 480 Composition Studies II MUP 480 Composition Studies II MUP 480 Composition Studies II *CMP 401 Orchestration I *CMP 402 Orchestration II *CMP 403 Orchestration III *CMP 481 Pedagogy of Music Theory CMP 490 Senior Composition Portfolio CMP 491 Core Capstone for

Composers * Courses marked with asterisks in year 3 and year 4 are on a 2-year cycle.

Planned Composition Schedule Fall Winter Spring Days Time

Composers Toolbox I, II, III CMP 311 CMP 312 CMP 313 TR 2:30-3:45pm

Counterpoint/Advanced Analysis CMP 411 CMP 412 CMP 414 TR 9:00-10:15am

Music Technology CMP 324 CMP 325 CMP 326 TBD

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SOFTWARE

Music Notation All composition majors must submit original work upholding professional music notation standards. The program supports the use of MakeMusic’s Finale music notation software. It is highly recommended that students purchase their own copy of Finale. The department’s computer lab in StC 205 and the library’s teaching lab have copies of Finale that students may use when on campus. CMP 300 Music Notation: Theory and Practice covers the use of Finale.

Students may continue to use Sibelius if they have previously purchased. Be aware that Marylhurst faculty do not support the program, therefore students will need to work independently to attain professional music notation standards.

Most free or inexpensive music notation programs do not meet the professional standards required for the Marylhurst composition program. Music Production Software

Marylhurst’s composition program supports Apple’s Logic Pro.

THIRD & FOURTH YEAR SUMMARY Students in the third and fourth year of the composition program will study composition in private lessons (MUP 380 Composition Studies I and MUP 480 Composition Studies II). The goal of these lessons will be to compose works that are performed at public recitals. Some terms the department will hire professional musicians to perform works as part of the department’s Emerging Voices series. Other terms the students are required to write music for their peers to perform publicly at Wednesday’s at 1:15 recitals. The composition faculty determine the nature and scope of assignments each term. The final products of CMP 380 and CMP 480 studies will be original compositions professionally notated (score and parts) and recorded.

At the end of MUP 380 studies, the composition major will submit a portfolio of original works as part of the CMP 390 Junior Composition Portfolio. At the end of MUP 480 studies, the composition major will submit a portfolio of original works as part of the CMP 490 Senior Composition Portfolio. The portfolios includes score, parts and recordings of each work written while at Marylhurst. CMP 390 and CMP 490 replace the junior and senior recital of traditional composition programs.

At the end of the final year, composition majors also enroll in CMP 491 Core Capstone for Composers. This is a public performance of a major contemporary work on the student’s primary instrument. Composition majors will include a full analysis of the work geared towards music professionals as well as program notes for the general public. Students may perform solo or in an ensemble with peers. Applied music lessons on the primary instrument and CMP 414 Advanced Analysis will support CMP 491.

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COMPOSITION PORTFOLIOS CMP 390 A public presentation of a composition major’s works written and performed in the junior year. May include live and previously recorded performances. A minimum of 20 minutes of music will be presented. Prerequisite: 2 credits of MUP 380. Students following programs in the 2012-2013 catalog and later, take the course for 1 credit. Students in previous catalogs take the course for 0 credits.

CMP 490 A public presentation of a composition major’s works written and performed in the senior year. May include live and previously recorded performances. A minimum of 40 minutes of music will be presented. Prerequisite: 2 credits of MUP 480 and CMP 390. Students following programs in the 2012-2013 catalog and later, take the course for 1 credit. Students in previous catalogs take the course for 0 credits.

The composition portfolios consist of two-parts 1) A data CD with the student’s work done in the current academic year.

a. Score and parts as .pdf files (no Finale or Sibelius or other file types)

b. Audio or video recordings in standard format (.mp3, .aiff, .wav, .avi or .mov)

c. Program notes in .pdf, .docx or .rtf format.

d. Score, parts, program notes, and recordings arranged by composition, in separate folders.

e. Cover document that lists CD contents, giving information typically found on concert programs. Template follows.

f. The CD remains the property of the Department of Music and will be part of your student file.

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2) Public presentation of works. Brief introductions followed by recordings/videos of performances. The goal for your presentation should be to give the public a sustained look at your work and to better understand you as an composer. Please plan your talk. You will be stopped after your allotted time. The following are permissible but not required:

a. Live performances. b. Hard copies of scores (.pdf’s of music can be projected on screen). c. Every performance and every work completed this year.

Schedule a) CMP 390 students: each student has 25 minutes to present.

b) CMP 490 students: each student has 50 minutes to present.