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Music 312/412 Mini-Etude: Collective Composition and Performance (Fall 2009)
For this etude you will collaborate with your fellow composers in groups of 4 to 5. Each group will compose and perform a piece that focuses on indeterminacy with respect to performance.
Each member of the group has a role as both composer and performer. Your group must collaborate in the entire decision making and composing process. You may choose to delegate various tasks of the composition process, but this must be decided in advance by the entire group.
Duration — minimum 8', maximum 25'
Instrumentation
Instrumentation may be explicitly specified or partially indeterminate. You may use any combination of conventional instruments, voice, or instruments of your own invention. You may employ amplified instruments such as electric guitar, bass, keyboard, laptop, iPod, or phone. When choosing your instrumentation remember that all members of your group must perform. Your piece must require a minimum of 4-5 performers (however many people are in your group). If you require more performers (up to a maximum of 8-10) then members of other groups can join in the performance. Your choice of instrumentation must be compatible with the available players.
Form
Your piece may be continuous or sectional. If you choose to compose a sectional piece you should explore different facets of indeterminacy in each section.
Text
You may optionally incorporate a pre-existing or original text into your composition. The text may be sung, spoken, written, or presented in some other manner. You may wish to use the text to explore a topic of social or political importance.
Content
Decide how various sonic and performative elements will be organized along a determinacy-intedeterminacy continuum:
- Pitch
- pitches, pitch classes, octave doublings, registers (high, medium, low)
- Rhythm
- patterns, proportional notation, time brackets, exact durations, "natural" durations, event density, tempo, silence
- Form
- fixed or sequential forms, open or mobile forms, repetitive or non-repetitive
- Dynamics
- conventional dynamics, dynamic brackets, relative dynamics
- Timbre
- instrument choices, playing techniques, "noise"
- Ensemble
- interaction, realtime decision making, leader vs. follower, conducting, games
Do not necessarily limit yourself to the aforementioned options.
Score/Parts
Your piece must have a written score that details every aspect of the piece. The score must be crafted so that other performers with no inside knowledge of the piece could execute a successful performance of the work. Your score must incorporate graphic elements that are outside of the Western common practice tradition. Your score may consist solely of individual parts with no master score, a single score used by all performers, or a combination.
Performance
If you require more performers (up to a maximum of 8-10) then members of other groups can join in the performance. These additional performers are responsible for performance only.
Your piece must be well rehearsed. All aspects of the performance from beginning to end must be worked out. Be sure to consider the relationship of the performers to the audience. You may incorporate some form of audience participation if desired.
DUE DATES
In class presentation on Thursday, October 15
Individual meeting with Prof. Klingbeil during the week of November 9
Turn in completed score on Thursday, December 3
Your piece must be ready for performance on Monday, December 7. This is the first Monday of reading period. A mutually agreeable time will be announced.
Collaborative Groups
Group 1
Alex Weiser
Nathan Prillaman
Jeffrey Rosen
Charles Sharzer
Group 2
Emily Cooley
Alan Cole
Gabriel Zucker
Jonathan MacMillan
Kurt Schneider
Group 3
Stephen Feigenbaum
Andy Alden
TJ Smith
Ben Wexler
Group 4
Ellis Ludwig-Leone
Preben Antonsen
Julian Kantor
Naomi Weiss-Goldman
Repertoire Examples
Note: You must be logged into classesv2 to view and listen to the following examples
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Terry Riley, In C (1964)
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Fredric Rzewski, Coming Together (1971)
instructions
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Fredric Rzewski, Les Moutons de Panurge (1969)
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Cornelius Cardew, The Great Learning (1968-70)
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Karlheinz Stockhausen, Klavierstück XI, No. 8 (1957)
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recording
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Roman Haubenstock-Ramati, Mobile for Shakespeare (1961)
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recording
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John Cage, Fourteen (1990)
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Morton Feldman, Durations 2 (1960)
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Morton Feldman, Projections 5 (1951)
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Morton Feldman, Intersection 2 (1951)
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Earle Brown, Four Systems
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Christian Wolff, Duo for Pianists I (1962)
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Christian Wolff, For 1, 2, or 3 People (1964)
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Barney Childs, Take 5 (1962)
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John Zorn, Cobra (1984)
01 - Pendet
02 - Tabanan
03 - Uluwati
04 - Tamangiri
05 - Paras
06 - Sangek
07 - Penganggahan
08 - Raksasa
09 - Goa Gajah
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