OCA’s Programme Leader for Music – Carla Rees has been busy…
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.
It has given me the confidence to believe in my work and my ability as a composer, justifying the efforts I made in the writing, developing and refining this score. Also, as mentioned above, it fulfilled my dream of hearing one of my compositions performed live, by other musicians.
The first three posts covered the basics of the programme through to working with large, complicated scores. I’m going to continue the series with several posts dealing with advanced techniques and non-standard notation. This post deals with issues of spacing in complex scores.
In this third post I’ll be moving on to music for large ensembles and orchestras, and using Sibelius to extract parts for players. I’ll be covering some advanced techniques and Sibelius-specific workarounds.
Hearing one’s music is a very important part of learning how to compose. It can be difficult for fledgling composers to secure performances, but it is worth exploring whether there are any local ensembles willing to look at your music.
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.
OCA’s Carla Rees, Programme Leader for Music has had a busy summer…
Join us on the 28 October at the Royal Northern College of Music in Manchester.
I have just finished my five-date solo piano tour, ONE, which featured me as the performer, Debbie Sharp as a video installation artist, and Jacob Thompson-Bell as producer. It was a lot of fun, if a bit exhausting, and it was great to see some OCA students in the audience at two of the gigs.
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.