Composition Concentration Requirements
The mission of the Composition Program is to provide student composers with the resources to develop a broad set of creative skills, and the opportunities to explore approaches to composition in all media and styles. Interested students should ask one of the faculty composers to serve as an advisor.
Core Requirements (42 Units)
Upper-division Music Theory and History: 12 units
Complete three upper division courses:
1. Choose one course among these three:
- Develop compositional and analytical skills focus on tonal and post-tonal contrapuntal practices
- Music 122A: Counterpoint (4 units)
- Learn analytical methods
- Music 122B: Analysis of Tonal Music (4 units)
- Music 122C: Introduction to 20th- Century Composition (4 units)
2. Choose one course among these eight that satisfy the Writing In the Major (WIM) requirement:
- Acquire the capacity to write about music
- Music 140: Studies in Music of the Middle Ages (4 units)
- Music 141: Studies in Music of the Renaissance (4 units)
- Music 142: Studies in Music of the Baroque (4 units)
- Music 143: Studies in Music of the Classical Period (4 units)
- Music 144: Studies in Music of the Romantic Period (4 units)
- Music 145: Studies in Western Art Music Since 1900 (4 units)
- Music 146: Studies in Ethnomusicology (4 units)
- Music 147: Studies in Music, Media, and Popular Culture (4 units)
- Music 251: Psychophysics and Music Cognition (4-5 units)
3. Choose one more course among the remaining nine listed in 1 and 2.
Note: A course cannot be used to satisfy more than one major requirement.
Performance: 3 units
Choose a course or some courses among the following, for a minimum of 3 units
1. Develop proficiency with at least one instrument or voice
- Private lessons (1-3 units)
2. Ensemble
- Play/perform in various acoustical combinations: Solo, Chamber, and Large ensembles.
- Play/perform music with various repertoire
- Ensembles include:
- Music 159: Early Music Singers (1 unit)
- Music 160: Stanford Symphony Orchestra (1 unit)
- Music 160A: Stanford Philharmonia (1 unit)
- Music 161A: Stanford Wind Symphony (1 unit)
- Music 161B: Stanford Jazz Orchestra (1 unit)
- Music 162: Stanford Symphonic Chorus (1 unit)
- Music 163: Memorial Church Choir (1 unit)
- Music 165: Chamber Chorale (1 unit)
- Music 167: University Singers (1 unit)
- Music 171: Chamber Music (1 unit)
3. Acquire conducting skills
- Music 130B: Elementary Instrumental Conducting (2 units)
- Music 130C: Elementary Choral Conducting (2 units)
4. Play/Perform electronic music
- Music 128: Stanford Laptop Orchestra: Composition, Coding, and Performance (3-4 units)
5. Play/Perform improvised music
- Music 126A: Introduction to Thoroughbass, historically informed stylistic improvisation (1-3 units)
- Music 156: [sic] Improvisation Collective (1 unit)
6. Play/perform contemporary music, and collaborate with performers in having your music performed
- Music 160B: Stanford New Ensemble (1 unit)
- Music 161B: Jazz Orchestra (1 unit)
Note: A course cannot be used to satisfy more than one major requirement.
MST/Composition/Orchestration: 3 units
Choose a course or some courses among the following, for a minimum of 3 units
MST (Music, Science, and Technology)
- Music 101: Introduction to Creating Electronic Sounds (3-4 units)
- Music 105: Creative Music Technology Practice (1-3 units)
- Music 155: Intermedia Workshop (3-4 units)
- Music 192A, B, C: Sound Recording (192A & B: 3 units each, 192C: 1-2 units)
- Music 220A, B, C: Computer Generated Sounds (2-4 units each)
- Music 223: Composition for Electronic Musicians (3-4 units)
- Music 223A: Composing Electronic Sound Poetry (2-3 units)
- Music 223B: Sonic Experiments in Composition (1-3 units)
- Music 223C: Tradition, Experimentation, and Technology in String Quartet Composition and Performance (1-3 units)
- Music 223D: Sound Practice: Embodiment and the Social (2-3 units)
- Music 250A, C: Design of Digital Sounds for Interactive Performance (3-4 units each)
- Music 256A, B: Music Computing, Design (3-4 units each)
2. Composition
- Music 20C: Jazz Arranging and Composition (3 units)
- Music 112: Film Scoring (3 units)
- Music 113: Introduction to Instrumental Composition (2-3 units)
- Music 123A: Composition seminar: Rhythmic design (1-2 units)
- Music 123B: Composition seminar: Pitch design (1-2 units)
- Music 123C: Composition Seminar: World Music (1-2 units)
- Music 123i: Undergraduate Seminar in Composition (2-3 units)
- Music 124A: Songwriters Workshop (1-2 units)
- Music 131A: Musical Indeterminacy & Advanced Notation (2-3 units)
3. Orchestration
- Music 127A: Instrumentation and Orchestration (3 units)
- Music 127B: Advanced Orchestration (3 units)
Note: A course cannot be used to satisfy more than one requirement.
Composition Requirements
Foundational Courses: 12-14 units
1. Undertake diverse compositional experiences.
- Music 123A: Composition seminar: Rhythmic design (1-2 units)
- Music 123B: Composition seminar: Pitch design (1-2 units)
2. Expand your creativity through individual composition lessons with multiple faculty composers, and build a portfolio of pieces of solo, chamber, and large ensemble music.
- Music 125: Individual Undergraduate Projects in Composition (Must complete 3). (1-3 units each)
- Music 198: Concentration Project (2 units)
3. Develop competence with instrumental and orchestration technique. Choose one course among these two:
- Music 127A: Instrumentation and Orchestration (3 units)
- Music 127B: Advanced Orchestration (3 units)
4. Become proficient in electronic music techniques. In consultation with your advisor, choose one course among those offered by CCRMA:
- CCRMA courses (2-4 units)
Note: A course cannot be used to satisfy more than one major requirement.
Electives: 6-8 units
Choose courses among the following for a minimum of 6 to 8 units. Depending on the number of units of your CCRMA foundational course, you need 6 - 8 units of electives, where CCRMA course units + electives units = 10 or more.
1. Develop competence with instrumental technique and orchestration. Understand new performance practices, compositional techniques, and notational strategies.
- Music 123D: Undergraduate Seminar in Composition- Extended Performance Techniques (1 - 2 units)
- Music 127B: Advanced Orchestration (3 units)
- Music 223: Composition for Electronic Musicians (3-4 units)
- Music 223B: Sonic Experiments in Composition (1-3 units)
2. Experience the creation of vernacular music (popular, jazz and indigenous music cultures)
- Music 20C: Jazz Arranging and Composition (3 units)
- Music 123C: Composition Seminar: World Music (1-2 units)
- Music 124A: Songwriters Workshop (1-2 units)
3. Become proficient in electronic music techniques and media. Explore areas such as intermedia composition, installation, instrument and interface design, interactive composition, sound art, and other contemporary creative enterprises
- Music 105: Creative Music Technology Practice (1-3 units)
- Music 112: Film Scoring (3 units)
- Music 123i: Undergraduate Seminar in Composition: Music, Art and Intermedia (2-3 units)
- Music 128: Stanford Laptop Orchestra: Composition, Coding, and Performance (3-4 units)
- Music 155: Intermedia Workshop (3-4 units)
- Music 192A, B, C: Sound Recording (Music 192A & B: 3 units, Music 192C: 1-2 units)
- Music 220A, B, C: Computer Generated Sound, Psychoacoustics, and Computational Music (2-4 units each)
- Music 223A: Composing Electronic Sound Poetry (2-3 units)
- Music 250A : Design of Digital Sounds for Interactive Performance (3-4 units)
- Music 250C: Interaction - Intermedia - Immersion (2-3 units)
- Music 256 A, B: Music Computing, Design (3-4 units each)
- You may also consider other CCRMA courses (2-4 units)
4. Gain experience in contemporary music performance and improvisation (Limited to a maximum of 2 units)
- Music 31N: Exploring Taiko (3 units)
- Music 131A: Compositional Indeterminacy & Advanced Notation (2-3 units)
- Music 156: "sic" Improvisation Collective (1 unit)
- Music 160B: Stanford New Ensemble (1 unit)
- Music 161B: Jazz Orchestra (1 unit)
- Music 161E: Stanford Afro-Latin Jazz Orchestra (1 unit)
5. Further develop your compositional and analytical skills
- Music 122A: Counterpoint
- Music 122B: Analysis of Tonal Music
- Music 122C: Introduction to 20th- Century Composition
6. Get familiarized with music perception, psychoacoustics, cognition, and neuroscience of music.
- Music 251: Psychophysics and Music Cognition.
Note: A course cannot be used to satisfy more than one major requirement.
Resources
Sample Four-Year Plan
This generic four-year plan is a condensed version of this webpage. Its aim is to assist students who are considering a major in Music with a Concentration in Composition, setting up a four-year plan.
- Required courses are listed at the bottom of the plan.
- A dashed course is one that has been moved in the four-year plan.
- A blued area is one whose requirements can be fulfilled via a large selection of courses, listed on the webpage.
- Yellowed courses in the plan are recommendations.
Capstone Project
A Capstone Project in composition may take various forms, but the most common one is a ±45-minute concert featuring any creative works you have produced when enrolled in any courses at Stanford. You are encouraged to discuss your ideas with your mentor when enrolled in Music 198 Concentration project.
A student presenting a Capstone project is responsible for the preparation and production of the event. The attached document summarizes the student’s responsibilities and available resources. Jennifer Xiong put it together in the Spring 2022 when she was working on her project. It is made available to you with her permission.
Recommendations
Beyond the Major
The 62-unit structure is designed to offer a preliminary basis in composition. Students intending to delve deeper, and, in particular, interested in professional careers and graduate studies should work with their advisor to be prepared to meet the anticipated expectations and requirements.
This can be achieved by taking additional courses from the above listed electives but also others offered occasionally or by visiting artists. Taking multiple quarters of composition lessons (Music125) with more than one faculty member can be particularly beneficial. The following is also recommended:
- Be part of the community: Expand existing music communities or create a new one.
- Develop collaborations with fellow musicians
- Use the library and online resources to expand and diversify your knowledge of contemporary composers
- Attend concerts and rehearsals. Follow the contemporary music scene.
- Take advantage of the Stanford Overseas Study Program
- Look into various summer courses and find out about available partial funding
- Take advantage of the available funding during your Sophomore summer to develop and carry on your research
- If you are considering graduate studies in composition, select target programs and study their entrance requirements and exams
Archive of Students' Works
The composition program offers a myriad of courses to help you develop or investigate your potential as a composer. There are two ways that one can do composition at Stanford, and one does not need to be a music major to enroll in these courses.
One-time composition
Music 113: One-time course split into two parts: Five weeks of class meetings followed by five weeks of 30-minute private lessons, leading to a composition that is performed during exam week. This course can be counted toward a Music minor
Fall 2022
The featured musicians on these recordings are Ricardo Martinez, soprano sax; Isaac Lopez, alto sax; David Henderson, tenor sax; and Aaron Lington, baritone sax; conducted by Hans Kretz..
- Koye Alagbe: Dancing Sheep | Audio
- Angel Fan: Better Days | Audio
- Oscar Figueroa: War of Imagination | Audio
- Joaquin Galindo: Acid Rain | Audio
- Kevin Liao: Runnin', Stumping in My Sleep | Audio
- Jasmine Markovich: Boogie Nights | Audio
- Eric Martz: What's On Your Mind | Audio
- Brendan Reeves: Saxophone Quartet No. 1 | Audio
- Julie Segal: Stages of an Apology | Audio
- Richard Yuan: Strom and Celebration | Audio
Spring 2021
The featured musicians on these recordings are Dale Wolford, soprano sax; Isaac Lopez, alto sax; David Henderson, tenor sax; and Kevin Stewart, baritone sax; conducted by Hans Kretz.
- Dominic DeMarco: A Day in the Fields | Audio
- Anna Gao: Hiraeth | Audio
- Idalis Ibrahim: Spiral | Audio
- Ireh Kim: Time lapse | Audio
Winter 2019
The featured musicians on these recordings are Dale Wolford, soprano saxophone; Isaac Lopez, alto saxophone; David Henderson, tenor saxophone; and Kevin Stewart, baritone saxophone.
- Liam Fay: Max | Audio
- Hui Ting Goh: Life of an umbrella | Audio
- Dan Holland: Stopgap | Audio
- Nicholas Lai: Journeying Home | Audio
- Cam Lincoln: The Salmon | Audio
- Jack Lindsey: Quartet | Audio
- Sam Silverman: Cloud 9 | Audio
Winter 2018
The featured musicians on these recordings are David Henderson, soprano saxophone; Isaac Lopez, alto saxophone; Kevin Stewart, tenor saxophone; and Luke Colbert, baritone saxophone.
- Haeli Baek: Gemini | Audio
- Ayoade Balogun: Jollities | Audio
- Casey Butcher: Said and done | Audio
- Eli Hiss: Quartet 1.2 | Audio
- Yadanar Hnin: Equinox | Audio
- Marisa Lin: Death of the Moth | Audio
- Pablo Ocampo: Saxophone Quartet | Audio
- Cheyenne Sadeghi: Sandinista | Audio
- Amanda Sussman: Eerie Shadows | Audio
- Allan Zhao: Intersections | Audio
Composition individual lessons
Music 125: Private lesson in Composition. These are 50-minute lesson spread over ten weeks leading to a composition that is performed during yearly Undergraduate Compositions Concert, by a visiting ensemble of professional musicians. After completing the course’s two prerequisite: Music 123A and Music 123B, one can enroll in Music 125 as often as wanted. These three courses can be counted towards a Music minor or Music major
Composers enrolled in Music 125 (Individual Undergraduate Projects in Composition) have made audio of their compositions available for auditioning.
2023
Featured musicians are from the Ensemble Kujoyma: Maki Ota, soprano; Kaori Wakabayashi, flute; Nozomi Ueda, clarinet; Mayuko Ishigami, violin; Shoko Fukutomi, cello; Yuri Morimoto, piano; Asuka Hatanaka, percussion; conducted by Yoshiaki Onishi.
- Analiese Bancroft: Demeter and Helios | Audio
- Zac Dulkin: Hirshfield | Audio
- Lydia Goedert: Softly | Audio
- AndrewTin-Lok Lee: My Teddy Bear | Audio
- Ben Limric: Revolutions | Audio
- Howard Qin: La porta dell'inferno, Op. 36 | Audio
- Renee Qin: Voice of the Planet | Video
- Na Young Son: But, Life is a Dream | Audio
- Jenny Xiong: Three Haiku | Audio
- Ryan Yu: Voices | Audio
Featured musicians are from the Ives Collective: Hrabba Altadottir and Susan Freier, violin; Peter Josheff, clarinet; Stephen Harrison, cello; and Brenda Vahur, piano; conducted by Hans Kretz.
- Noah Berrie: Noctilucent Type I | Audio
- Grant Bishko: Avancer, Reculer, Immobile | Audio
- Zac Dulkin: The Hive | Audio
- Lydia Goedert: Clarity | Audio
- AndrewTin-Lok Lee: In The Abandoned Mansion | Audio
- Ben Limric: Dreams | Audio
- Ben Limric: Eclipso | Audio
- Nolan Miranda: workVplay (Live Performance) | Video
- Cameron Most: Quartet I | Audio
- Howard Qin: Piano Trio No. 1, Op. 35 | Audio
- Renee Qin: Piper | Video
- Renee Qin: Ternaround | Audio
- Cheyenne Sadeghi: Chloé Danse Dans L'espace | Audio
- Cheyenne Sadeghi: Hoss | Audio
- Cheyenne Sadeghi: Saman | Audio
- William Shabecoff: Lullaby | Audio
- William Shabecoff: Still, I Would | Audio
- Tiffany Shi: Clarinet Quartet No. 1 | Audio
- Kevin Su: Airplane Window | Audio
- Justin Wei: Stroll in the Woods | Audio
- Jenny Xiong: Boats in Ink | Audio
- Jenny Xiong: Nix Nocturna | Audio
2022
Featured musicians are the Earplayers: Terrie Baune, violin; Tod Brody, flute; Peter Josheff, clarinet; Thalia Moore, cello; Ellen Ruth Rose, viola; and Karen Rosenak, piano; conducted by Hans Kretz.
- Grant Bishko: to walk, untethered | Audio
- Mitchell Garmany: Sonatesque | Audio
- Katie Pieschala: Pink House | Audio
- Kevin Su: A Meditation on Two Paintings by Clifford Still | Audio
- Jennifer Xiong: Jennifer’s Vermeer | Audio
- Andrew Zerbe: Pygmalion and Galatea | Audio
Featured musicians are from the Quinteto Latino: Diane Grubbe, flute; Kyle Bruckmann, oboe; Leslie Tagorda, clarinet; Shawn Jones, bassoon; Armando Castellano, horn.
- Mitchell Garmany: Quotidian | Audio
- William Shabcoff: Thoughts on a Breezy Hill | t/node/13421
- Kevin Su: Sounds of Rusting Metal | Audio
- Howard Qin: La nuit transcendantale | Audio
- Jenny Xiong: Family | Audio
- Jennifer Xiong: Wrong Trouseres | Video
2020
Featured musicians are the percussion trio of Jimmy Chan, Michael Downing, and Tony Gennaroe.
Featured musicians are the Friction Quartet: Kevin Rodgers, violin; Otis Harriell, violin; Lucia Kobza, viola; and Doug Machiz, cello.
- Mitchell Garmany: Feud (2020) | Audio
- Joss Saltzman: Three Surprise Dances (2019) | Audio
- Brody Skiff: Holy Water Ocean (2019) | Audio
- Kevin Su: Three Frames of Mind (2019) | Audio
Featured musicians are the piano trio of Erica Hwang, violin; Gaby Li, cello; and Hanna Yip, piano.
- Tiffany Shi: Piano Trio No. 2. For Kirk and Sarah (2019) | Audio
Winter 2019
Featured musician is Shao-Wei Chou, solo flute.
Featured musicians are the brass quintet of Steven Newman & Masha Gorkovenko, trumpets; Kyle Julian, horn; Olivia Li, trombone; and Jonathan Lin, tuba.
- Joss Saltzman: Strands of Time | Audio
Orchestration
We offer two courses of orchestration: Music 127A Instrumentation and Orchestration and Music 127B Advanced Orchestration.
Students enrolled in Music 127B have made audio of their compositions available for auditioning.
Spring 2023
Featured musicians are the members of the Stanford Symphony Orchestra conducted by Paul Phillips.
- Caleb Benz: 18 Morceaux Pour Piano | Audio
- Cameron Camp: Allegro Moderato | Audio
- Zac Dulkin: Emergent Soul | Audio
- Nicolle Hendzel: Nicolle's Piece | Audio
- Annabelle Jayadinata: In The Woods | Audio
- Sam Jett: Variations on a Theme for Orchestra | Audio
- Alex Perry: From The Mountain | Audio
- Renée Qin: Spring Tide | Audio
- Andrew Tin-Lok: Liú | Audio
- Andrew Zhang: Novelette III | Audio
2022
Featured musicians are the members of the Stanford Symphony Orchestra conducted by Paul Phillips.
Research on Extended Techniques
Music 123D introduces extended performance techniques for acoustical instruments. Different aspects of sound production are investigated, and their potential illustrated with excerpts from the literature. Students get to explore some of these techniques with a quarter long research project on an instrument of their choosing, working with a professional musician.