Courses

An introduction for the non-pianist to the fundamentals of composing music that is suited to acoustic instruments. Emphasis is placed on writing melodies and chords that fit the hand comfortably. In addition, importance will be given to creating keyboard figuration that suggests the continuation of melodic lines. The student learns how to elaborate a chordal style of keyboard writing to one that is more expansive and florid with a wide variety of figurations.

Through a lecture-workshop format, this course focuses on composing music with selected techniques of 20th century composition (with a focus on the first half of the century). Techniques such as non-functional harmony, polytonality, free atonality, 12-tone, additive rhythm, changing meter, polyrhythm, nontraditional forms, and other techniques will be discussed through diverse repertoire and sources. Weekly composition projects related to each of these techniques will be assigned, and may be read by a chamber music ensemble.

Through a lecture-workshop format, this course focuses on composing music with selected techniques of the second half of the 20th and 21st century composition. Techniques such as minimalism, microtonality, spectralism, new complexity, extended techniques, graphic scores, and others will be discussed through diverse repertoire and sources. Weekly composition projects related to each of these techniques will be assigned and may be read by a chamber music ensemble.

The workshop provides opportunities for student composers to hear performances of their own work, and for student performers to gain public performing experience of original student works and works written within the last 60 years. Important works of the 20th century are explored. It is advisable, but not required, for students to have taken MHIS-261 prior to enrolling in this course. This course can be repeated for credit.

A cross-genre composition class that will explore complex rhythmic concepts such as odd meter and linear polyrhythm in modern jazz, progressive metal and world music. Students in the course will learn to compose in the odd meter environment through analysis of grooves, rhythmic cells, metric modulation and polyrhythms. The course will go through the origins of the different rhythmic concepts in jazz and world music, as well as analyze music by leading modern artists such as Tigran Hamasyan, Meshuggah, and Karim Ziad. The course will also explore different approaches to rhythm around the world like the Indian Konnakol system, and Middle Eastern traditional grooves. The course will culminate in each student composing a full musical piece that includes the rhythmic concepts presented in the course.

Composing New Music for Dance is an advanced class for composers to learn pedagogue of collaboration with choreographers and write new music for contemporary dance.  Lectures cover topics such as the nature of collaboration between sound and body gesture, developing a vocabulary and language for musicians and dancers to collaborate, analysis of iconic contemporary dance and music collaborations, and more. Composers then collaborate one-on-one with a choreographer to create a new work for dance. Additional class time might be assigned to meet with dancers in the dance studio. Composers are free to use any style that suits their collaboration, and are responsible for producing the music performance themselves. Students are encouraged to experiment with new methods of composing and new ways to create music based on dance. 

Discussion of string instruments, their special effects, and proper notation. Principles of string orchestration and voicing techniques.

The course will focus on the acquisition of skills with technological tools for the creation of professional composition portfolios. Production of publication-ready scores and parts using Finale or Sibelius notation software will be emphasized, including nonstandard notation. Basic audio editing techniques will also be presented to create demonstration recordings.

This course will cover the capabilities and notation for all percussion instruments typically found in a classical music environment (including instruments more often associated with other genres/regions). Various configurations of percussion will be covered in detail, from full sectionals to one player, and from single instruments to multi-instrument setups.

Scoring techniques for full chorus with and without instrumental accompaniment. A choral composition in a traditional style is required as a final project.

Examination of representative solo vocal works from the 19th and 20th centuries (including works requiring nontraditional vocal techniques), with emphasis on dramatic organization, relationship of music to text, and appropriateness to the capacity of the trained singing voice. Special attention given to principles of vocal technique and speech articulation as they apply to composition, principles of vocal notation, and considerations of opera and musical theater. Students will be expected to write specified vocal passages based on assigned texts as well as participate in some improvisation and dramatic reading of texts in class.

Introduction to Electroacoustic Music for Composers is a survey course in electronic and computer music composition. Designed especially for students on Berklee composition tracks, the course is suitable for any student wishing to gain a comprehensive overview of the history and techniques of electronic music while learning to compose works at the computer for electronics alone or in combination with live instruments.