Module: Composition, Theory & Applied Techniques 6

Latest Module Specifications

Current Academic Year 2025 - 2026

Module Title	Composition, Theory & Applied Techniques 6
Module Code	MPA1043 (ITS: MC302)
Faculty	Theology, Philosophy & Music	School	Humanities & Social Sciences
NFQ level	8	Credit Rating	5

Description

The module builds on students’ musical knowledge, music writing, composition and creative skills by extending topics explored in the previous two and a half years of the course: tonality and key relationships; chord construction and progression; voice leading; stylistic composition; writing and arranging for instruments; and theoretical and applied aspects of harmony and counterpoint. This module involves comparative discussion and musical analysis of stylistic choral and instrumental material, and the setting of such as part of a stylistic techniques portfolio. Students engage, theoretically, analytically, and practically, with the harmonic language and compositional techniques of the late-Classical and early-Romantic styles of art music. Knowledge and practice in relation to 20th and 21st Century composition techniques are extended, developing students’ skills in composing in a contemporary style using technology as the basis for sound recording, editing, manipulation, and mixing.

Learning Outcomes

1. Display, through analysis and written examples, a solid understanding of functional and extended harmony as it is employed in different contexts of art music
2. Demonstrate a comprehensive knowledge of the harmonic language and stylistic techniques of late-Classical and early-Romantic styles
3. Employ a range of digital technologies to record, edit, manipulate, compose, and mix various forms of sound content
4. Illustrate, both theoretically and practically, technical skills and knowledge in composing for a combination of sonic forces across conventional and non-conventional instrumentation including independently-collected sound material, showing sensitivity to voice-leading and textural balance
5. Illustrate, both in discussion and in practice, a range of theoretical and applied skills in general musicianship, music techniques, music analysis, and composition

*Type*	*Hours*	*Description*
Workload	Full time hours per semester
Lecture	36	Lectures
Independent Study	89	Independent Learning
Total Workload: 125

Section Breakdown
CRN	20767	Part of Term	Semester 2
Coursework	0%	Examination Weight	0%
Grade Scale	40PASS	Pass Both Elements	Y
Resit Category	RC1	Best Mark	N
Module Co-ordinator	Barbara Dignam	Module Teacher

Type	Description	% of total	Assessment Date
Assessment Breakdown
Portfolio	Portfolio of course work in analysis, stylistic techniques, and engagement with materials	60%	n/a
Music Composition	Electroacoustic/Sound Art Composition Project	40%	n/a

Reassessment Requirement Type
Resit arrangements are explained by the following categories; RC1: A resit is available for both^* components of the module. RC2: No resit is available for a 100% coursework module. RC3: No resit is available for the coursework component where there is a coursework and summative examination element. ^* ‘Both’ is used in the context of the module having a coursework/summative examination split; where the module is 100% coursework, there will also be a resit of the assessment

Pre-requisite	None
Co-requisite	None
Compatibles	None
Incompatibles	None

All module information is indicative and subject to change. For further information,students are advised to refer to the University's Marks and Standards and Programme Specific Regulations at: http://www.dcu.ie/registry/examinations/index.shtml

Indicative Content and Learning Activities

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Indicative Reading List

Books:

Solomon, Jason W.: 2019, Music Theory Essentials: A Streamlined Approach to Fundamentals, Tonal Harmony, and Post-Tonal Materials [ebook available from the DCU library site], Routledge,
Stone, Stephen C.: 2018, Music Theory and Composition: A Practical Approach [ebook available from the DCU library site], Rowman & Littlefield Publishers,
Straus, Joseph N.: 2016, Introduction to Post-Tonal Theory [ebook available from the DCU library site], 4th, W. W. Norton & Company,
Kostka, Stefan M; Payne, Dorothy; Almén, Byron: 2018, Tonal harmony: with an introduction to post-tonal music, 8th, McGraw-Hill Education,
edited by Collins, Nicholas, and Julio d'Escrivan: 2017, The Cambridge Companion to Electronic Music [ebook available from the DCU library site], 2nd, Cambridge University Press,
Butterworth, Anna: 2000, Harmony in Practice, ABRSM Publishing, London,
Cook, Nicholas: 1995, A guide to musical analysis, Oxford University Press,
Bowman, David and Terry, Paul: 1993, Aural Matters: A Student’s Guide to Aural Matters at Advanced Level, Schott Educational Publications, Mainz,
Cope, David: 1997, Techniques of the Contemporary Composer, Shirmer Books, New York,
Steinitz, Paul and Sterman, Stella: 1974, Harmony in Context, Belwin Mills, Croydon,
Sturman, Paul: 1983, Harmony Melody and Composition, Longman, Harlow, Essex,
Wilkinson, Roy: 1991, ABC of Harmony, Music Square, Singapore,

Articles:
None

Other Resources

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