Composition Major
Composition in the Liberal Arts
Lewis and Clark strongly believes that there is no better place for young composers
than in a liberal arts setting. Composers are women and men with hungry minds,
who live for the collection and synthesis of knowledge, and for insight into the
humanity of the audience and art they serve. Studies in the classics, in the social
sciences, in the physical sciences, in mathematics, in the contemporary humanities,
and in the allied arts contribute to individuals of real distinction: not mere
musicians, but great and deep human beings.
The Freshman Year
The Freshman year is a time of adjustment to college social life, to new and
higher expectations for intellectual achievement, and to the rigors brought
about by a major which requires diligent practice every day. Thus, it is not
recommended that students begin the composing sequence until the sophomore year,
even if they have satisfied the necessary prerequisites. Students with significant
experience and ability in composing intent upon the composition major may take
independent study in composing upon approval of the faculty.
Orchestration
Lewis and Clark treats orchestration not as a skill for arrangers, but as
an integral part of the composing process. Thus, the year sequence in orchestration
consists of composing six large pieces for various instrumental combinations,
in addition to the more traditional study of ranges and tranpositions, as well
as major scores from the canon. These courses are designed to leave each composer
with a portfolio of works for varying ensembles which she or he may use to apply
for graduate programs. Performers regularly visit classes so that composers
may hear their works in progress, and composition recitals at the end of each
term present the finished pieces to the LC community. All recitals are recorded
to CD.
Counterpoint
Much like orchestration, Counterpoint at Lewis and Clark is treated not as
an optional theoretical discipline, but as a necessary and intrinsic part of
the act of composing for multiple parts. Composition and Counterpoint I deals
extensively with tonal counterpoint, but in a most unusual way. Rather than
beginning with the traditional, but arcane art of fugue, students practice in
a modified Schenkerian species counterpoint, learning harmonic implication,
control of dissonance, and rhythmic counterpoint. Students continue into the
composition of Baroque dance forms, including imitative forms such as the Gigue.
In addition, composers study the major tonal works of the 20th century and compose
extensively in their own voice using the principles learned from such study.
Composition and Counterpoint II is a course in non-tonal counterpoint. Rigorous
study of high renaissance polyphony, as well as contemporary atonal, serial,
rhythmic, and textural counterpoint augment the continued creation of new works
for the concert hall.
Study Abroad
Study overseas usually takes place in the spring of the Junior year. Composers
are strongly advised to travel on the London program, since this will best serve
to enrich their musical education while overseas. The London Program will necessitate
missing a course from the Core Sequence in Composing, so special arrangements
must be made to acquire necessary skills, whether through correspondence or
in London proper.
Independent Study
Composers are strongly encouraged to pursue their own musical interests in
fields not necessarily covered by the Electives or Core Sequence. They may avail
themselves of the music faculty and their individual strengths for independent
study, keeping in mind that professors' schedules may not allow them to take
on independent study in a given semester. All such study is at the discretion
of the faculty member in question.
The Senior Project
The senior project is a full-length recital of original music, produced, directed,
advertised, and rehearsed by the composer. The recital takes place in the spring
of the senior year, and contains no less than 45 minutes of music, over half
of which must involve acoustic instruments. The Core Sequence requires at least
15 minutes of music per semester, so all senior composers will have written
at least the minimum required by the time of the recital. Every composer prepares
their recital under the supervision of a director and two faculty advisors.
The Composer's Voice
Lewis and Clark does not subscribe to any school, style, or process of composing.
Works created by student composers range from heavily pop-influenced electronica
to carefully controlled serial music and experimental "conceptual"
music. We believe firmly that the discipline of careful compositional thought
benefits all composers, regardless their eventual voice and affinities. Composers
must be a part of their own culture, and learn to respond to and shape the musical
life of those around them. In order to do this, they must also have rigorous
training.
Scholarships
A small number of scholarships may be available for qualified composers. Please
include a representative portfolio of your scores and recordings with your application.
Contact the music office for audition dates.
The Faculty
Dave Becker
Senior lecturer in music
Director of bands
Conducting, advanced musicianship
Jeff Leonard
Instructor of electroacoustic music
Electronic Music elective sequence
Michael Johanson
Visitng Assistant Professor of Music
D.Mus, Indiana University
Composition Core Sequence, Theory I, 20th century Theory
Artistic Director, Friends of Music
The Theory and Composition Curriculum
Prerequisites (contained in Music Major Requirements)
MUS 111 2 Cr. Aural Skills I
MUS 121 2 Cr. Music Theory I
The Core Sequence in Theory (required of all majors)
MUS 212 2 Cr. Aural Skills II
MUS 213 2 Cr. Aural Skills III
MUS 222 2 Cr. Music Theory II
MUS 223 2 Cr. Music Theory III
MUS 314 4 Cr. 20th Century Theory and Aural Skills
The Core Sequence in Composing
Every composer is strongly encouraged to take every course in the core sequence.
Those pursuing double majors may make alterations, under the advice of both
major advisors.
MUS 224 2 Cr. Beginning Composition (waived for those with significant experience)
MUS 325 4 Cr. Composition and Orchestration I (alternate years)
MUS 326 4 Cr. Composition and Orchestration II (alternate years)
MUS 327 4 Cr. Composition and Counterpoint I (alternate years)
MUS 328 4 Cr. Composition and Counterpoint II (alternate years)
MUS 490 2 Cr. Senior Project
The Elective Sequence (take as many as possible)
MUS 220 2 Cr. Introduction to Electronic Music
MUS 221 2 Cr. Studies in Electronic and Computer Music
MUS 316 2 Cr. Jazz Theory
MUS 318 2 Cr. World Music Theory
MUS 321 2 Cr. Seminar in Electroacoustic Composition
MUS 331 2 Cr. Conducting
MUS 416 2 Cr. Advanced Musicianship and Conducting
Electives Outside the Music Department (recommended courses)
ENG 201 4 Cr. Introduction to Poetry and Poetry Writing
TH 107 2 Cr. Ballet I or
TH 108 2 Cr. Contemporary Dance Forms I
TH 275 4 Cr. Introduction to Playwriting
ART 1** 4 Cr. Any introductory Art course
PHIL 101 4 Cr. Logic
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Composition Major at LC
