MUS-256-jihyun.kim1-2025-03-12-12-12-21
MUSIC COMPOSITION
MUS 256 (variable credit, 2 or 4)
Fall 2025
Prerequisites: MUS 251 or concurrent enrollment; by permission of area coordinator
Day and Time:
- Individual lesson: to be scheduled individually
- Composition Seminar: Fridays 12:10-1:00pm
Meeting Location: Kimbrough 346
Instructor Contact Information
Instructor Name: Dr. Jihyun Kim
Instructor Contact Information: Kimbrough 241 /(509) 335-8587/ Jihyun.kim1@wsu.edu
Instructor Office Hours: Fridays 10-11am
Instructor Name: Dr. Christian Kim
Instructor Contact Information: Kimbrough 341 /(509) 335-4244/ christian.kim@wsu.edu
Instructor Office Hours: Wednesdays 11am - noon
Course Description
MUS 256 offers a firm foundation in all aspects of musical composition, suitable to the student’s professional interest in music. This foundation includes the development of compositional technique, overall musicianship, cultivation of musical imagination, and integration of the student’s training in music theory and history.
Course Materials
Books: N/A
Other Materials:
- Manuscript paper (cost varies)
- A computer-based notation program for score preparation (MuseScore, Finale, Sibelius, Dorico, etc…) (cost varies)
Fees: N/A
|
Course Learning Outcomes (students will be able to:) |
Activities Supporting the Learning Outcomes | Assessment of the Learning Outcomes |
|---|---|---|
| Student will be able to develop compositional tools and techniques that contribute to the composition of coherent and expressive music according to the level and experience of the student. | Individual project and assignments | Individual project and assignments |
| Student will be able to establish and expand a reference repertoire that will serve as a model for certain aspects of their composition. | Individual project and assignment, seminar discussion | Individual project and assignment, seminar discussion |
| Student will be able to develop analytical skills for understanding the structural make up of significant works from the US and abroad. |
Individual project and assignment, seminar discussion |
Individual project and assignment, seminar discussion |
| Student will be able to present their music in clear notation and formatting. |
Individual project and assignment, seminar discussion |
Individual project and assignment, seminar discussion |
| Student will be able to explain the compositional tools used in their pieces. |
Seminar presentation, jury |
Seminar presentation, jury |
| Student will be able to build a meaningful relationship and rehearsal techniques with the performers. |
Area recital |
Area recital |
Course Schedule
| Dates | Lesson Topic | Assignment | Assessment |
|---|---|---|---|
|
Week 1 |
Introduction; Studio Assignment |
Schedule a weekly lesson time |
|
| Week 2 Aug 29 |
Dr. Christian Kim, Modes and Application |
Idea sketching |
feedback will be given in composition seminar |
| Week 3 Sep 5 |
Dr. Christian Kim, ii – V – I |
Idea sketching Seminar project |
feedback will be given in composition seminar |
| Week 4 Sep 12 |
Seminar Project 1 – Writing a short piece using basic jazz licks |
Seminar project due |
feedback will be given in composition seminar |
| Week 5 Sep 19 |
Duo Rodrigues-Nguyen, reading session |
Idea sketching |
feedback will be given in private lesson |
| Week 6 Sep 26 |
Duo Hong-Jean, reading session Chamber Music Festival 9/25, 7:30pm (Bryan) 9/26, 4:10pm (KCH) 9/26, 7:30pm (Bryan) |
Idea sketching | feedback will be given in private lesson |
| Week 7 Oct 3 |
Dr. Jihyun Kim, Notation and Formatting |
Idea sketching | feedback will be given in private lesson |
| Week 8 Oct 10 |
Dr. Jihyun Kim, Composing with limited materials |
Mid-semester check-up; draft of the first composition; work on seminar project 2 |
feedback will be given in private lesson |
| Week 9 Oct 17 |
Seminar Project 2 – Roll a Die! |
Idea development; start orchestrating |
feedback will be given in composition seminar |
| Week 10 Oct 24 |
No Seminar |
Idea development; start orchestrating | feedback will be given in private lesson |
| Week 11 Oct 31 |
Listening Party |
Idea development; start orchestrating | feedback will be given in private lesson |
| Week 12 Nov 7 |
Zach Mayberry | ||
| Week 13 Nov 14 |
Student Presentation 1 (MUS 256 students) – the piece/composer will be assigned in the beginning of the semester by your instructor. |
Presentation prep |
feedback will be given in private lesson |
| Week 14 Nov 21 |
No Seminar |
Final touch of the piece; fix notations and formatting |
feedback will be given in private lesson |
| Week 15 Dec 5 |
Student Presentation 2 (MUS 456 students) – the piece/composer will be assigned in the beginning of the semester by your instructor. |
Final portfolio due; schedule jury (Monday, Dec 8) |
feedback will be given in private lesson |
Expectations for Student Effort
- For each hour of lesson and composition seminar equivalent, students enrolled in MUS 256 for 2 credits should expect to have a minimum of ten hours of work outside of class. For students enrolled in MUS 256 for 4 credits, should expect to have a minimum of eighteen hours of work outside of class.
- For each hour of lesson and composition seminar equivalent, students enrolled in MUS 456 should expect to have a minimum of eighteen hours of work outside of class.
- MUS 256 students for 2 credits are expected to complete at least one single smaller-scale work (about 5-10 minutes, solo or small ensemble). Students enrolled in MUS 256 for 4 credits are expected to complete at least two smaller-scale works (about 5-10 minutes each, solo or small ensemble). Students enrolled in MUS 456 or 556 are expected to complete at least two smaller-scale works (about 5-10 minutes each, solo or small ensemble), or one larger-scale work (about 10 minutes, mixed ensemble, sinfonietta, wind band or orchestra). Discuss with your teacher the scope of what you’re working on and how it fits with this requirement.
- You are expected to make consistent progress through the semester in completing projects, as presented in lessons on a weekly basis. What this looks like will vary by student.
- Occasional small composition assignments may be given. These are designed to complement your ongoing projects, not replace them.
- You may be given listening or reading assignments. In general, you should be highly self-motivated to spend as much time as possible getting to know the widely varied music literature of the 20th and 21st centuries.
- Every spring semester, all composition students are required to participate in an area recital. Discuss with your studio teacher what piece would be a good fit for the recital. It is the responsibility of the composer to find performers and arrange rehearsal times. Not meeting this requirement will result in a grade of zero.
- The jury will be assigned during the final exam week. Each student will be assigned 10-15 minutes. Students are required to give a presentation during the jury and answer questions from the composition faculty.
Grading
| Type of Assignment (tests, papers, etc) | Points | Percent of Overall Grade |
|---|---|---|
| Lesson and Seminar Preparation | 40 points | 40% |
| Attendance and Participation (lessons, seminars, concerts and area recital) | 50 points | 50% |
| Jury | 10 points | 10% |
| Grade | Percent | Grade | Percent |
|---|---|---|---|
| A |
100 - 93 |
C | 76.99 - 73 |
| A- | 92.99 - 90 | C- | 72.99 - 70 |
| B+ | 89.99 - 87 | D+ | 69.99 - 66 |
| B | 86.99 - 83 | D | 65.99 - 60 |
| B- | 82.99 - 80 | F | 59.99 - 0 |
| C+ | 79.99 - 77 |
Attendance and Make-Up Policy
- Students should make all reasonable efforts to attend all class meetings. However, in the event a student is unable to attend a class, it is the responsibility of the student to inform the instructor as soon as possible, explain the reason for the absence (and provide documentation, if appropriate), and make up class work missed within a reasonable amount of time, if allowed.
- Successful completion of this course relies on your attendance and participation. As a skills-based course, you can expect to be asked regularly to sing or play music independently, present or engage in score study and analysis. Because you will be learning and demonstrating new skill sets, observing those skills in others, and sometimes participating in student-led teaching exercises, attendance is especially important in this course.
- Missing more than three lessons/seminars will result in a grade of zero.
- All student enrolled in lessons are required to attend 10 concerts per semester. Attendance at all concerts featuring composition faculty or students is mandatory.
- A student enrolled in both composition and major instrument lessons is still only required to attend 10 concerts per semester.
Academic Integrity Statement
You are responsible for reading WSU's Academic Integrity Policy, which is based on Washington State law. If you cheat in your work in this class you will:
-Fail the course
-Be reported to the Center for Community Standards
-Have the right to appeal my decision
-Not be able to drop the course of withdraw from the course until the appeals process is finished
If you have any questions about what you can and cannot do in this course, ask me.
If you want to ask for a change in my decision about academic integrity, use the form at the Center for Community Standards website. You must submit this request within 21 calendar days of the decision.
Community Standards
WSU is committed to fostering a respectful environment that promotes the well-being and dignity of all members of the University community. Faculty and students are expected to treat each other, staff, faculty, students, and members of the public in a professional manner at all times while on campus or representing WSU.
School of Music students are expected to:
- Communicate in a respectful manner
- Work cooperatively with others
- Hold oneself accountable for one’s behaviors and actions
- Avoid all forms of abusive conduct, harassment, illegal discrimination, and workplace violence.
- Abusive conduct may include physical action, verbal or non-verbal behavior or electronic or written communication
- Students whose behaviors violate these expectations will be reported to the University Conduct Board.
University Syllabus
Students are responsible for reading and understanding all university-wide policies and resources pertaining to all courses (for instance: accommodations, care resources, policies on discrimination or harassment), which can be found in the university syllabus.
Protecting Your Hearing Health
An NASM – PAMA Student Information Sheet on Noise-Induced Hearing Loss
Hearing health is essential to your lifelong success as a musician. Your hearing can be permanently damaged by loud sounds, including music. Technically, this is called Noise-Induced Hearing Loss (NIHL). Such danger is constant. Noise-induced hearing loss is generally preventable. You must avoid overexposure to loud sounds, especially for long periods of time. The closer you are to the source of a loud sound, the greater the risk of damage to your hearing mechanisms. Sounds over 85 dB (your typical vacuum cleaner) in intensity pose the greatest risk to your hearing. The risk of hearing loss is based on a combination of sound or loudness intensity and duration.
Recommended maximum daily exposure times (NIOSH) to sounds at or above 85 dB are as follows:
- 85 dB (vacuum cleaner, MP3 player at 1/3 volume) – 8 hours
- 90 dB (blender, hair dryer) – 2 hours
- 94 dB (MP3 player at 1/2 volume) – 1 hour
- 100 dB (MP3 player at full volume, lawnmower) – 15 minutes
- 110 dB (rock concert, power tools) – 2 minutes
- 120 dB (jet planes at take-off) – without ear protection, sound damage is almost immediate
Certain behaviors (controlling volume levels in practice and rehearsal, avoiding noisy environments, turning down the volume) reduce your risk of hearing loss. Be mindful of those MP3 earbuds. See chart above. The use of earplugs and earmuffs helps to protect your hearing health.
Day-to-day decisions can impact your hearing health, both now and in the future. Since sound exposure occurs in and out of school, you also need to learn more and take care of your own hearing health on a daily, even hourly basis. It is important to follow basic hearing health guidelines. It is also important to study this issue and learn more. If you are concerned about your personal hearing health, talk with a medical professional. If you are concerned about your hearing health in relationship to your program of study, consult the appropriate contact person at your institution.
This information is provided by the National Association of Schools of Music (NASM) and the Performing Arts Medicine Association (PAMA). For more information, check out the other NASM- PAMA hearing health documents, located on the NASM Web site at the URL linked below: http://nasm.arts-accredit.org/index.jsp?page=NASM-PAMA_Hearing_Health.