Orchestration and Arrangement - MUSC3302
Faculty: Faculty of Arts and Social Sciences
School: School of the Arts and Media
Course Outline: School of the Arts and Media
Campus: Sydney
Career: Undergraduate
Units of Credit: 6
EFTSL: 0.12500 (more info)
Indicative Contact Hours per Week: 3
Enrolment Requirements:
Prerequisite: 24 UOC in Music courses and enrolment in a Music single or dual degree program. Or 48 UOC overall, including 6 UOC level 1 Music and 6 UOC level 2 Music and enrolment in a Music major, or minor in Bachelor of Arts (pre 2016)
CSS Contribution Charge: 1 (more info)
Tuition Fee: See Tuition Fee Schedule
Further Information: See Class Timetable
View course information for previous years.
Description
Subject Area: Music
In this course you will learn some key methods of musical transformation. We will begin with orchestration, which transforms music for a single instrument into music that involves a stage full of performers. Orchestration also requires careful decisions about adding new materials, removing old material, adapting, multiplying, and spatialising musical ideas, all of which will be discussed in terms of historical models (including Mozart, Brahms, Wagner, and Adès, for example). The second part of the course revolves around a question: how have composers used old music to make new music? In answering this question we will focus on transformation itself, and we will examine in detail a wide range of recent re-compositions of earlier music (including Halvorsen, Ives, Berio, Schnittke, Nyman and Adams, for example). These will form models for your own re-compositions.
In this course you will learn some key methods of musical transformation. We will begin with orchestration, which transforms music for a single instrument into music that involves a stage full of performers. Orchestration also requires careful decisions about adding new materials, removing old material, adapting, multiplying, and spatialising musical ideas, all of which will be discussed in terms of historical models (including Mozart, Brahms, Wagner, and Adès, for example). The second part of the course revolves around a question: how have composers used old music to make new music? In answering this question we will focus on transformation itself, and we will examine in detail a wide range of recent re-compositions of earlier music (including Halvorsen, Ives, Berio, Schnittke, Nyman and Adams, for example). These will form models for your own re-compositions.
Study Levels
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