The New Music Collective will meet again on 17 March 2018 at Iklectik Art Lab, in London. Following on from our work on group composition, individual performance and improvisation, the theme of this meeting is collaboration
OCA music students are required to submit digital versions of their scores for assessment, and a proportion of the marks are given for the quality of typesetting and presentation of notation. It is important that the assessors are experienced in the choice of software used, allowing them to judge the student’s original work and to recognise how much of the presentation is automatically generated within the program.
In late July, OCA music students from across the UK and Europe met up at the MAC Birmingham for a day of music making and discussion with music tutor Chris Lawry and saxophonist and publisher Keri Degg. The day was focussed on writing for saxophone with a particular emphasis on composing music for educational and examination purposes. Students got to hear their compositions workshopped and received feedback and advice from tutor and performers, as well as bound scores and recordings to take away for further study.
On a warm July morning, twenty one musicians descended on Harlaxton manor for five days of flute playing and composing at the annual rarescale summer school. An eclectic bunch, the flautists ranged from talented amateurs to music college graduates embarking on performing careers, and the composition group consisted of undergraduate music students and early career composers.
I have, probably since the age of 14 or so, identified myself as a composer. I played piano (and also guitar and flute rather unsuccessfully), and have variously performed as a classical pianist, accompanist, duo partner, cocktail pianist, jazz pianist, and even a keyboardist in a rock band, yet because I studied composition at music college, and I now lecture in composition, I never really identified as being a performer.