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.
At the recent assessment a large drawing caught the eye of the assessment team and I wanted to single out this piece as an example of what can happen when a student follows the logic of their research. I was lucky enough to be Gwenyth’s tutor for Drawing One and during a Google Hangout session for the third submission it was clear that one subject — a large rock near her home in Sweden — meant a lot to her.
It is easy to dismiss the Listening Log as less important than the composition component of an assignment, but this is not the case; listening is a crucial part of improving one’s musical ability. Therefore, when assessing, it is wonderful to see the work of students who have fully embraced the Listening Log, and David Lake’s submission is a perfect example of this.
I was about to start a three-year academic commitment. In applying to be part of the Open College of the Arts 2014 cohort for Europe’s first distance part time Masters in Fine Art, I had signed up to deadlines and being a student again: a proper one (not the kind who says they are a ‘student of life’ and winks in an alarming way). I’d have an NUS card, discounts in Top Shop and more two-for-one pizzas than I could ever consume . What else would I learn? What had I to gain?