Paul Kerekes

Paul Kerekes

Undergraduate Discipline

Music

Composition

BMus, CUNY Queens College. MM, MMA, Yale School of Music. New York-based composer and pianist whose music has been performed by American Composers Orchestra, Da Capo Chamber Players, and New Morse Code, in Merkin Hall, (le) poisson rouge, and The Winter Garden. He attended The Bang on a Can Summer Music Festival, Aspen Music Festival, and The Young Artists Piano Program at Tanglewood. Member of Grand Band, a six-piano ensemble featured in The Bang on a Can Marathon and the Gilmore International Keyboard Festival. Award recipient from ASCAP, the Academy of Arts and Letters; recipient of the 2015 JFund award from the American Composer’s Forum. SLC, 2017–

Undergraduate Courses 2017-2018

Music

Theory I: Materials of Music

Component

Hearing and Singing is taken concurrently with this course. This course is a prerequisite to the Theory II: Basic Tonal Theory and Composition and the Advanced Theory sequence.

This introductory course will meet twice each week (two 90-minute sessions). We will study elements of music—such as pitch, rhythm, intensity, and timbre—and will see how they combine in various musical structures and how these structures communicate. Studies will include notation and ear training, as well as theoretical exercises, rudimentary analyses, and the study of repertoire from various eras of Western music.

Faculty

Theory II: Basic Tonal Theory and Composition

Component

The materials of this course are prerequisite to any Advanced Theory course. Survey of Western Music is required for all students taking Theory II who have not had a similar history course.

As a skill-building course in the language of tonal music, this course covers diatonic harmony and voice leading, elementary counterpoint, and simple forms. Students will develop an understanding through part writing, analysis, composition, and aural skills.

Faculty

Advanced Theory: Advanced Tonal Theory and Analysis

Component

Prerequisite: Successful completion of the required theory sequence or an equivalent background.

This course will focus on an analysis of tonal music, with a particular emphasis on chromatic harmony. Our goal will be to quickly develop basic understanding and skill in this area, and then to refine them in the analysis of complete movements and works. Our repertoire will range from Bach to Brahms, and we will try to incorporate music that class participants might be studying in their lessons or ensembles.

Faculty

20th-Century Compositional Techniques

Component

Students should have taken Theory I: Materials of Music or its equivalent.

Composers have been exploring new avenues for creating and organizing their music beyond a traditional tonal construct since the turn of the 20th century. As we will discover, some composers relate to the past by extending those techniques into a new realm; others firmly attempt to establish procedures that disregard the history of compositional methods that precede them. This course is a workshop in the art of composition, with a focus on new approaches to writing that composers devised during the late 19th century to present times. We will examine in detail significant works by a wide variety of major 20th- (and 21st-) century composers: beginning with the first inklings of Modernism in Debussy, Wagner, and Schoenberg; stopping by a myriad of resulting genres, such as Neoclassicism in Stravinsky and Minimalism with Steve Reich; and finishing off with very recent compositions by established and emerging composers from across the globe. Since this class focuses heavily on compositional techniques through the act of composing, it is expected that students have or will develop a fluency in notation, preferably with Sibelius or Finale. The class will culminate in a reading session of your final work by live performers.

Faculty

Previous Courses

Theory I: Materials of Music

Component

This course is a prerequisite to the Theory II: Basic Tonal Theory and Composition and Advanced Theory sequence.

This introductory course will meet twice each week (two 90-minute sessions). We will study elements of music such as pitch, rhythm, intensity, and timbre to see how they combine in various musical structures and how these structures communicate. Studies will include notation and ear training, as well as theoretical exercises, rudimentary analyses, and the study of repertoire from various eras of Western music.

Faculty

Theory II: Basic Tonal Theory and Composition

Component

The materials of this course are prerequisite to any Advanced Theory course, and at least one of the following Advanced Theory courses is required after Theory II. Survey of Western Music is required for all students taking Theory II who have not had a similar history course.

As a skill-building course in the language of tonal music, this course covers diatonic harmony and
voice leading, elementary counterpoint, and simple forms. Students will develop an understanding
through part writing, analysis, composition, and aural skills.

Faculty