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The following is a summary of some of the University courses that I designed and taught at the Queensland Conservatorium of Music, Australia. Many of these subjects can be redesigned and delivered to different levels and across different time-frames. I have successfully delivered content relating to these courses to individuals privately, as well as groups of students at school and community college level.
Contemporary
Music Theory
(Three Semester Units)
Description:
Contemporary Music
Theory combines Third Stream Ear Training, Jazz Writing Techniques, and Transcription
Analysis. The studies feature musical
examples from a broad cross-section of 20th-Century styles. The course
introduces scribal techniques and harmonic/melodic principals that are
required for small-group writing (arranging and composition). This first
unit introduces the theory of scales and chords as used in typical jazz
and blues music. The aural component introduces tunes and songs which feature
chords and chord progressions found across a range of jazz, blues,
world, and popular musics. (These increase in size and complexity over
the course of the 3 semester units.)
Objectives:
The aural component’s objective is to: develop musical memory and
aural awareness; broaden stylistic knowledge and appreciation; introduce
and reinforce fundamental aural skills that form the building-blocks of
most of the music we hear; and to generally reestablish the ear as the
primary element in the creation and reception of music.
The object of the theoretical component of the course is to provide and
strengthen the link between what we hear (in a subjective sense) and what
we “know” (in a cognitive sense). This means being conscious
of the mechanics of what we hear, being able to communicate with other
musicians what we perceive, and to have command over the skills that facilitate
such communication and learning. These skills include writing, reading,
analysis, and familiarity with the theory of music and its language. Though
modern jazz styles will dominate, they will sometimes be related to contemporary
popular music, the past jazz tradition, and its paralleled 20th-Century
streams.
Improvisation and Ear-Training After Schoenberg
Description:
With the advent of 12-tone music came a method of harmonic and melodic organization
that is well-suited to musicians whom also want to explore different sounds
through improvisation - especially improvisation that goes beyond harmonic
limitations of traditional languages such as jazz. Some fundamental theory
of sets is incorporated into this course, followed by the aural study of
recordings of Schoenberg, Webern etc, and aurally-driven exercises and improvisations
with trichords.
Objectives:
The object of this subject is to achieve total fluency with the theoretical
combination of three notes (trichords) and their practical application
to the student’s
principal instrument (or voice). The pathway to such fluency rests with rigorous
aural training in order to master each possible combination of three notes.
In order to gain insight into how one might improvise with such intervallic
structures,
excerpts of the music of Schoenberg and Webern are absorbed aurally. With this
comes the parallel objective of developing musical memory and aural awareness,
and to broaden stylistic knowledge and appreciation.
(This course was developed as a direct inspiration from my private studies
of related material with Scott Sandvik.)
Jazz Songwriting and Arranging
Description:
This subject
serves as an introduction to writing for small groups of instrumentalists
and vocalists. Topics include part-writing, notational conventions, arranging
pre-existing tunes, text-setting, and analysis.
Objectives:
The object of the course is to provide the student with a means to put into
practice some of the theoretical concepts introduced in Contemporary Music
Theory 1. Fundamental compositional and arranging techniques relevant to writing
for small jazz/contemporary ensembles will be examined. Compositions and arrangements
of key artists will be used as case studies. In the final week there will be
an opportunity for interested students to have an assignment workshopped in
class.
Introduction to North Indian Rhythm
Description:
This subject provides participants
of any instrument or background with a practical introduction to the rhythms
and time-cycles of North Indian Classical Music,
demonstrated through the use of the tabla and its unique verbalized rhythmic
language.
Objectives:
The aim of this class is to instill students
of any instrument or background with a working knowledge of additive rhythm
and time cycles,
as featured in the music of North India and especially the unique verbalized
language of the tabla (hand drums). Several fundamental time cycles will
be learnt (through imitation and analysis), and these will form the basis
for
learning to recite traditional tabla compositions and rhythmic subdivisions.
Elementary improvisation on given material will also be experienced.
Jazz Workshop and Performance Seminar
Description:
The workshops will provide students with the opportunity to play repertoire before
their peers in a supportive, instructional context.
The Performance Seminar will provide opportunities for selected students
to try out in a more performance-oriented context before all students in their
year.
Contemporary Performance Projects
Description:
This subject is designed
as project-based performance, incorporating a range of skills relevant to the
Contemporary Music Major - performance, composition
and arranging, stage management, as well as the Contemporary Music Technology
Major - sound reinforcement, engineering and recording.
Objectives:
This class aims to provide students with opportunities to learn about the facets
of concert production, both as active performers/composers/band-leaders, and
from the perspective of others (audiences, clients, etc).
These facets are many and varied, but may involve the student asking (and hopefully
answering) questions like:
1. How do I lead a band?
2. Who do I incorporate into my band, in order to fulfill the specific task at
hand?
3. How do I present myself and my musical material appropriately to this musical
situation?
4. How do I appear on the other side of the stage (to employers, audiences, guests,
etc)?
5. What do I have to do to improve my overall performance?
All students will have to prepare to perform under different scenario conditions.
Jazz Instrumental Ensemble
Description:
This subject
provides an opportunity to become acquainted with the performance practices
and repertoire of the jazz/contemporary instrumental ensemble. Ensemble skills
(intonation, blend, rhythm and improvisation) and stylistic awareness will
be developed through regular rehearsals and performances.
Objectives:
The aim of this subject is to provide opportunities for the student to apply
theories of improvisation and technical aspects of their instrument, in
order to improve ensemble playing, improvisation and performance practice.
Coached
rehearsals and public performances offer the student experience in preparing
and presenting repertoire from the large body of traditional jazz repertoire,
right through to the latest contemporary music. The ensembles are themed “Jazz/Contemporary”; “Latin-Jazz”; “Contemporary/Popular”; “World
Percussion”; and the special “Con Jazz Quintet”. Subject
to numbers, a second bigband “Jazz Writers’ Orchestra” will
also be formed.
The Major Study
(3 or 4 years for Bachelor of Music Degree students)
Objectives:
The
core of the student’s course is the Major, and it is in the context
of the student’s chosen principal study that the material and information
delivered by the course work is put into practical context. The Major aims
to develop creativity and personal style by continuous exploration and
examination of musics in the broadest possible context through performance,
composition,
intellectual method, pedagogy, masterclasses, workshops, seminars, technology
and other media. In particular, in each year, it will develop the following
to an extent relevant to the year and playing level of each student.
Reliability in technique; Executant competance; Good practice habits; Musical
and stylistic sensitivity; Sound knowledge of the literature; Ability to express
creative ideas within a musical language; Performance preparation skills; The
ability to perform publicly or in other forums at an appropriate level; Development
of creativity and personal style; Exploration of musics in the broadest possible
context.
Content (4th year): Advanced technical skills; Improvisation
based on advanced models and techniques; Emphasis on meeting the demands
of performance;
Developing
and expanding a personal repertoire; Fostering individualization at a sophisticated
level.
I have made the Technical
Syllabus for Contemporary Music Majors available for preview and download
as a PDF.
(This course was developed and delivered with Faculty at the Qld Conservatorium.)
Foundation
Year Aural (Creative Skills):
Description.
This course develops aural skills in a manner that focuses upon the “inner
ear” by temporarily suspending visual and tactile senses. Aural skills
will be developed by:
1. The aural memorization of melodies from a broad range of recordings, from
the Western Classical tradition, African-American idioms (i.e. jazz), and non-Western
ethnic musics.
2. Learning to recognize and reproduce: any interval within one octave; all six
types of triads and their inversions.
3. The use of the voice as the primary instrument.
4. Analysis and experience of the techniques, skills, and other related facets
of music-creation in context. That is, using the set repertoire as a platform
for study of musical parameters.
Objectives.
The object of this course is to: develop musical memory and aural awareness;
broaden stylistic knowledge and appreciation (in composition, performance and
listening); introduce and reinforce fundamental aural skills that form the building-blocks
of most of the music we hear; and to generally reestablish the ear as the primary
element in the creation and reception of music.