#472 #truth Well, finally Ive decided to start writing into this blog about what Ive been learning at my composition workshops, and I must say Im quite at odds at where to begin. Firstly, I find the whole experience to be totally up my alley. Sitting down for 2 hours to hear about the work, tours and experiences of other composers is incredibly inspiring, and Im still often left in awe & without comment (in fear of asking a really dumb question). A group I was most impressed by was Cycle~ 440, an electronic, industrial-sounding pair of composers who recently returned from a tour around small bars & clubs in Japan. What surprised me the most was that one of the composers, Sam Gillies, is actually going to be my tutor for this year. What luck! Cannot say I ever thought Id end up being mentored by a composer of such calibre, but this is a definite opportunity for me to do some serious learning. As far as our discussion on graphic notation goes, I still find the concept to be a tad alien to me (or was that the point?). Perhaps Im not clear on the amount of instruction printed on the score, but to my eyes it seems that some pieces (especially the more abstract ones) seem to rely soley on the interpretation of the performer. Now that, to me, seems to grant artistic liberty to any musician that considers themselves experienced. So you could spend many summers learning the scales and modes on the piano, but if presented with a graphic score of intense abstraction, a few flicks of the high keys and a sudden THUD! as the piano is shut would be a sufficient interpretation of the piece. I dont know, perhaps Im getting this all wrong. Either way, it certainly makes for an interesting lecture, and I do find the level of creativity and the constant fight to free ourselves from the confines of western notation to be enthralling.
Posted on: Sat, 29 Nov 2014 06:49:27 +0000
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