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The mission of the
Bounding
Board Project is to help developing composers learn about the field
while
developing creative and professional skills. Students will greatly
benefit
from:
A private lesson and a group lesson A week-long course in the craft of composition Exposure to a wide array of important repertoire of the past 40 years in daily listening sessions Seminars and discussions on a variety of topics from inspiration to orchestration and most importantly, The preparation and performance of student works by Brave New Works. Through out the Bounding Project week there will be reading sessions and performances of student works. All participants will also be able to attend all Brave New Works rehearsals during the week. Instrumentation for Tufts residency composers The following pieces are being written for BNW for the residency Trio #1 - fl, vln, harp -Lindsey Schust Trio #2 - cl, pno, vc -Abigail Al-Doory Trio #3 - vln, vla, voice -Matthew Snook Trio #4 - fl, vla, harp -Ryan Vigil Quartet - fl, cl, harp, piano -Luis Gonzalez Quintet - string quartet and voice -Russ Gershon full ensemble piece using all instruments [fl, cl, hp, pno, string quartet, voice] -Don Schechter BNW will also be rehearsing John McDonald's Inventious Network for performance during the residency Event Descriptions Performances of Student Works The most valuable learning experience for every composer is preparing his or her own works for public performance and recording. The recording then becomes the composer's most effective professional document; in this case students will be able to use their recordings for contests and college and conservatory applications. Each student will have a work played on one of three mini concerts by BNW. These works will be professionally recorded and each student will receive a CD of their concert. Also critical to the learning experience is working with performers. Each student will get to work one on one with BNW Members. One of the faculty will also be present to help coach the rehearsal. Private and Group Lessons Each student will get to discuss their recent work one-on-one with a faculty member in a full hour lesson. Looking intimately at the work of your peers can also be remarkably instructive and a great chance to talk about important musical principles. Students will all get to participate in a group lesson working with a few of their fellow students, getting additional feedback on their works and insight into the workings of other pieces. Compositional Craft I and II Monday through Friday mornings all students will participate in a class exploring the elements of musical language designed specifically for composers. Students will be divided according to theory experience into 2 groups. Students will be given short assignments each night to reinforce concepts. These assignments will evolve cumulatively and at the end of the week members of BNW will visit class to play through the assignments for the students. Listening Sessions At the end of each afternoon we gather as a group for listening sessions. We will cover a wide variety of music and talk informally about our impressions. 5 Seminars Monday through Thursday after dinner there will be talks given on various topics of interest to young composers. Seminar offerings include: Notation, The Creative Process, Orchestration, and presentations on important contemporary composers. John McDonald will also give a seminar on his recent music. Feedback from Brave New Works members after residency BRAVE NEW WORKS - FEEDBACK SESSION AT Tufts University, 6/9/03 1. Open rehearsals 2. Scheduling 3. Timeframe 4. Seminars 5. Manuscript/computerized score 1. We should make it clearer to the composers that the rehearsals are open. Space might have been an issue this time around. Also, composers should be able to learn about the pieces being rehearsed beforehand; Extra scores need to be available; Somebody could introduce the piece with a few words before the rehearsal. 2. Scheduling was complicated because we didnUt have the scores before and so it was impossible to know how much rehearsal each piece would require. However, in the future, more careful scheduling should be done in advance. The schdule itself could be more flexible if we left free block or TBA blocks in the schedule so that whatever was needed could be rehearsed there. This issue will also be different if the composers are in residency. 3. Time frame: Composers should have at least 8-10 weeks to compose the pieces: For specific time frame we could look at Scotia Festival or Norfolk. We could have a call for scores, where composers send already existing scores, and then commission the composers to write for the specified ensemble. We could also have Rreading sessionsS so that the composers would write while in residence and work on the pieces with us. It should be made known to the composers that the performers are available to look at other pieces while in residence, such as solo pieces or parts for other pieces. The residency would be better organized in chunks, so that we wouldnUt be rehearsing for four programs simultaneously: 1st three-day session would be rehearsing BNW stuff, open rehearsals etc., 2nd three-day session would be rehearsing composers pieces that are already written, and 3rd session would be a work-shop with readings of pieces that composers are currently working on. 4. Seminars: The request was made by the composers that rather than focusing only on instrumental techniques, we would talk about repertoire as well, and about pieces that we like, what we like about them etc. 5. There needs to be a requirement that scores have to be legible: some BNW members prefer computerized score, some like manuscript, but regardless, it needs to be clear. . |
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Schedule Application Composers |