Theory/Composition

Curriculum Guide
Theory/Composition

The fields of composition and theory have long been recognized as central to the study of music. The Theory/Composition concentration at the University of Indianapolis presents a very versatile program that can have a multitude of goals. It can prepare students for graduate studies in a traditional classical environment or be used as a supplemental study to Performance or Education degree programs. While the classical art music tradition forms the core of the Theory/Composition concentration, there are a great many styles represented by student composers at the University. Students of every background, including “nontraditional,” have found composition studies to be most rewarding.

Two paths can be taken in the concentration; one emphasizes composition, the other, theory. The difference is in how much private instruction the student will receive and the focus of upper-level interests. Students emphasizing composition will concentrate on building a portfolio of original works, while those emphasizing theory will have the opportunity for upper-level theory courses devoted to a richly varied heritage of incomparable masterworks and the stimulating critical responses inspired by them.
Performance of student works is essential. At the University of Indianapolis, many opportunities are presented, including frequent individual and departmental student recitals. Highlights of the academic year are Composition area recitals, which are enthusiastically received and professionally recorded. There is a very active branch of the Society of Composers, Inc. on campus, which offers students many benefits, including performance opportunities at regional and national conferences.
A great deal of music of the highest artistic standards can be heard on campus. The University’s Contemporary Music Group, a vibrant blend of student, faculty, and guest artists, performs at least twice yearly. Distinguished guest composers who have visited the campus include John Corigliano, Anthony Iannaccone, and Takeshi Saitoh. In addition, a wealth of top-notch performing groups exist in the city, as well as the renowned Indianapolis Symphony Orchestra, which often programs the
works of composers such as Bartók, Shostakovich, Corigliano, Berg, Adams, Zwilich, and Webern.

Courses

In addition to the core requirements for the Bachelor of Science in Music, the concentration requires...

For a Composition Emphasis:

Introduction to Compositional Techniques
Computer Notation
Species Counterpoint
Composition I
Composition II
Twentieth-Century Masters Orchestration

For a Theory Emphasis:

The same courses are required, although half of the Composition study requirement can be satisfied by private lessons with an analytical focus, and the other half with theory classes drawn from the following:

Counterpoint Issues in Analysis and Criticism
Beethoven/Schubert Honors Seminar
Jazz Improvisation I
Orchestration
Contemporary Techniques

Representative Courses:

Introduction to Compositional Techniques, Composition I, Composition II—Weekly private lessons.
Computer Notation—Students will learn Finale, the standard notation program throughout much of the world.
Species Counterpoint—Based on the species counterpoint developed by the classical-era composer, J. J. Fux. The students will do weekly counterpoint exercises in the Palestrina style.
Twentieth-Century Masters—Innovations of Debussy, Bartók, Stravinsky, Schoenberg, Berg, Hindemith, Messiaen, Shostakovich, and Britten as well as the American masters Ives, Copland, and Carter.
Orchestration—An in-depth and practical study for the professionally oriented composer/arranger/orchestrator of the individual instruments of the orchestra in solo, chamber, and orchestral combinations.
Counterpoint—Study of contrapuntal genres and voice-leading models with emphasis on the Baroque and the works of J. S. Bach.
Issues in Analysis and Criticism—Advanced study of selected masterworks from the past five centuries, with an intro-duction to a variety of analytical approaches (Réti, Schenker, Tovey, etc.)
Beethoven/Schubert Honors Seminar—Study of the genesis and structure, source writings and historical studies, analytical approaches, and critical interpretations relating to the works of Beethoven and Schubert.
Contemporary Techniques—Important compositional trends of the past few decades with attention to the works of Lutoslawski, Crumb, Ligeti, Schwanter, Druckman, Corigliano, and Bolcom.