Course Code 24 Oct

PT

Duration

A post-graduate taught course lasting for one full academic year from late September until the following August.

Description

The Department of Music offers a one-year M.Phil. in Music Composition to cater for the growing demand for graduate studies of international standing in this area. Apart from one-to-one mentorship in composition itself, students will take courses in experimental music theatre/ contemporary opera, advanced instrumentation (using technology as an assistant), music theory and analysis, and contemporary music studies.

The M.Phil. course provides a backbone of activity for the newly established Music Composition Centre, part of Trinity's new initiative in Creative Arts, Technology and Culture. The Music Composition Centre offers a yearly series of events, talks, concerts and lectures with seminal composers/new music performers and it is expected that the M.Phil students in Composition will benefit immensely from liaising/meeting with these distinguished guests. In addition, the M.Phil in Composition Students will work closely with the Ensemble in Residence, Avalon Ensemble.

Course Director: Evangelia Rigaki

Teaching Staff include: Matthew Barnson, Michael Taylor and Simon Trezise.

COURSE STRUCTURE (90 ECTS)

Semester One

CONTEMPORARY MUSIC STUDIES: Evangelia Rigaki * (10 ECTS)

THEORY, AESTHETICS AND ANALYSIS: Michael Taylor/ Simon Trezise * (10 ECTS)

COMPOSITION A: Evangelia Rigaki & Matthew Barnson * (10 ECTS)

Semester Two

INSTRUMENTATION AND TECHNOLOGY: Matthew Barnson * (10 ECTS)

EXPERIMENTAL MUSIC THEATRE/ CONTEMPORARY OPERA: Evangelia Rigaki * (10 ECTS)

COMPOSITION B: Evangelia Rigaki & Matthew Barnson * (10 ECTS)

M.Phil Grad Show in April and Final Portfolio (30 ECTS)

Module Details:

THEORY, AESTHETICS AND ANALYSIS: SIMON TREZISE & MICHAEL TAYLOR

Duration: Semester 1

Contact Hours per week: 2 hour lecture

Assessment: 2 papers

ECTS: 10

This module will comprise any two of the following subjects: Film Music Theory and Aesthetics, Sketch to Score, Set Works. Film Music Theory and Aesthetics (five weeks) will examine various theories of film music from the earliest to the present. These theories will be discussed in the context of examples of the use of music in films and television shows from the earliest days of sound on film to the present. Sketch to Score (five weeks) examines composers' sketches & drafts as evidence of the creative process. Set Works (five weeks) analyses key works of the twentieth and twenty-first centuries. In the academic year 2011-12, the two subjects offered will be Film Music Theory and Aesthetics and Sketch to Score.

CONTEMPORARY STUDIES: EVANGELIA RIGAKI

Duration: Semester 1

Contact Hours per week: 2 hour lecture

Assessment: one composition (about 10 minutes) and an accompanying essay (about 1500 words) reflecting on the compositional process.

ECTS: 10

This module will examine and explore theories and practices of seminal living composers (George Aperghis, Beat Furrer, Helmut Lachenmann, Kaja Saariaho, Harrison Birtwistle among others). It will introduce the students to a wide range of seminal practitioners and reflect on works that challenge creation/compositional processes. It will look at the implications of these practices and use them as stimuli for original compositions. Assessment will be made by one composition (about 15 minutes) and an accompanying essay (about 1500 words) reflecting on the compositional process.

COMPOSITION A: EVANGELIA RIGAKI & MATTHEW BARNSON

Duration: Semester 1

Contact Hours per week: 2 hour lecture

Assessment: one composition (about 10 minutes) and an accompanying essay (about 1500 words) reflecting on the compositional process.

ECTS: 10

This module will consist of one to one composition tutorials in order to assist the students developing their individual compositional voice.

ADVANCED INSTRUMENTATION: DONNACHA DENNEHY

Duration: Semester 1

Contact Hours per week: 2 hour lecture

Assessment: 2 graded projects

ECTS: 10

Following on from the examination of basic and extended techniques in instrumentation in the first semester's course, this module concentrates on the skilful, aurally aware and creative use of instrumental combinations, especially in large ensemble situations. It involves a very close reading of two substantial texts in the subject: Principles of Orchestration by Rimsky-Korsakov, and Treatise on Instrumentation by Berlioz/Strauss. The latter part of the course will concentrate on detailed analysis of the instrumentation of a set group of works in the 20th and early 21st century. Attention will be given to highly unconventional instrumental approaches as well as more conventional settings.

THEORY, AESTHETICS AND ANALYSIS: SIMON TREZISE & MICHAEL TAYLOR

Duration: Semester 1

Contact Hours per week: 2 hour lecture

Assessment: 2 papers

ECTS: 10

This module will comprise any two of the following subjects: Film Music Theory and Aesthetics, Sketch to Score, Set Works. Film Music Theory and Aesthetics (five weeks) will examine various theories of film music from the earliest to the present. These theories will be discussed in the context of examples of the use of music in films and television shows from the earliest days of sound on film to the present. Sketch to Score (five weeks) examines composers' sketches & drafts as evidence of the creative process. Set Works (five weeks) analyses key works of the twentieth and twenty-first centuries. In the academic year 2011-12, the two subjects offered will be Film Music Theory and Aesthetics and Sketch to Score.

EXPERIMENTAL MUSIC THEATRE/CONTEMPORARY OPERA: EVANGELIA RIGAKI

Duration: Semester 1

Contact Hours per week: 2 hour lecture

Assessment: one composition (about 15 minutes) and an accompanying essay (about 1500 words) reflecting on the compositional process.

ECTS: 10

This module will examine and explore theories and processes of devising experimental music theatre and contemporary opera. It will introduce the students to a wide range of seminal music theatre/operatic works that challenge creation/compositional processes.
Assessment will be made by one composition (about 15 minutes) and an accompanying essay (about 2000 words) reflecting on the compositional process.

COMPOSITION B: EVANGELIA RIGAKI & MATTHEW BARNSON

Duration: Semester 1

Contact Hours per week: 2 hour lecture

Assessment: one composition (about 10 minutes) and an accompanying essay (about 1500 words) reflecting on the compositional process.

ECTS: 10

This module will consist of one to one composition tutorials in order to assist the students developing their individual compositional voice. It will also help the students towards the preparation and producing/staging/realization of their piece for the MPhil Grad Show.

Fees

Please check the Treasurers office for the summary of postgraduate degree fees.

Application

Intending students must already have a good honours undergraduate degree, preferably in music. Consideration will also be given to applicants with a primary degree not in music, if they are judged sufficiently strong musically and creatively. All applicants must submit a portfolio of three compositions and an example of an academic paper. All email enquiries should be sent to: the Music Composition Centre.

For further information, see the Postgraduate Courses

Completed applications for admission will be accepted until 15th July of the year in which admission is sought. Late applications will also be considered.

Assessment