Introduction to Spectral Music

New England Conservatory
This class will introduce you to spectral music in multiple facets. First comes the music: through listening assignments you will get to know some of the major compositions by Grisey, Murail, Harvey, Saariaho among others. Subsequently, the techniques developed by Grisey and Murail will be presented, as well as the ideas – of a holistic approach to sound – on which the spectral movement is built. Finally the larger context in which spectralism began and developed will be discussed: from a reaction against the dominating parameterization of the serial method, until a movement that inspired younger composers such as Leroux, Hurel, Romitelli to name but a few. For spectral composers the perception of sound is of the utmost importance in developing their techniques. Therefore, in this course the work will be hands-on: from analysis by listening; to making (spectral) drafts of music based on selected sounds! While creativity is encouraged, you don’t need to be a composer to complete the assignments of this class.
Not required course: eligible for students who finished the core curriculum.
First comes the music: through listening assignments you will get to know some of the major compositions by Grisey, Murail, Harvey, Saariaho among others. Subsequently, he techniques developed by Grisey and Murail will be presented, as well as the ideas – of a holistic approach to sound – on which the spectral movement is built. Finally the larger context in which spectralism began and developed will be discussed: from a reaction against the dominating parameterization of the serial method, until a movement that inspired younger composers such as Leroux, Hurel, Romitelli to name but a few. For spectral composers the perception of sound is of the utmost importance in developing their techniques. Therefore, in this course the work will be hands-on: from aural analysis to making (spectral) drafts of music based on selected sounds! While creativity is encouraged, it is not needed to be a composer to successfully complete the assignments of this class.

Further information

  • assessment
    Other (The relative weight of the work in this course is: 1. Homework: 20%, 2. Listening assignments: 15%, 3. Tests: 35% (Test No. 1 & 2 each 10 %; 4Test No. 3 is 15%) | Midterm Project: 15% | Final Project: 15%)
  • level
    Beginner, Intermediate
  • Completed Semester
    1st or 2nd Semester
  • How many semesters does the course last?
    1
  • hours per week
    2
  • Link of the course
  • Target group of course
    Instrumentalists, beginner
    Music theory students, beginner
  • credits
    2
  • Type of Course
    Lecture, Seminar, Practice
  • Degree Level
    Bachelor
  • e-learning-elements
    online exercices
  • Course
    Optional
  • students #
    Max. 20
  • Hours per year
    80
  • BIBLIOGRAPHY
    • Contemporary Music Review Vol 19 No. 2&3
    • Scores and recording of music that is discussed and analyzed (some of the composers are: Gérard Grisey, Tristan Murail, Jonathan Harvey, Kaija Saariaho, Philippe Leroux, Philippe Hurel, Fausto Romitelli)
  • ONLINE CATALOGUE
    WITH CONTENTS
  • evaluation grid
  • evaluation grid
    and document

Teacher(s)

Bert VAN HERK

Contact
current position

Full time Faculty in the Theory Department

Institution

New England Conservatory

Be a part of our european project !

This European project (KA 203 Strategic Partnership) created by Salvatore Gioveni promotes cross-border collaboration in the field of Music Theory through sharing knowledge and transferring pedagogical innovation. It thus responds to a lack of centralised source and framework to deepen reflection by means of cross-disciplinary study at European and international level.

There is a significant wealth of educational practices from one country to another in this sector, especially in terms of harmonic musical notation and analysis. However, HMEI's are facing the nonexistence of a European network for pedagogical staff in Music Theory so far. To improve the situation, the project will among other things develop several intellectual outputs such as Online Platform (IO 1), an EU Bibliography (IO 2), a Repository Courses (IO 3), a Multilingual Glossary (IO 4) and an Exchange Online Learning Platform.

Besides the Conservatoire royal de Bruxelles as leader and manager of the project, the following partner institutions are involved: Music Academy S. Moniuszki Gdańsk (Gdańsk, Poland), F. Liszt Academy of Music Budapest (Budapest, Hungary), Estonian Academy for Music and Theatre (Tallinn, Estonia), HfMTh "Felix Mendelssohn Bartholdy" (Leipzig, Germany).

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