There are lots of people writing music in the world, and a plethora of instrumentalists too, but it can often be difficult to be noticed. In my line of work I often come across what I call the ‘generic flute piece’ – a basically well constructed piece for flute which does most things right...
For artists, photographers, musicians, writers and other arts practitioners at all levels, it is all too easy to become isolated. We can work alone, often from home, and it can sometimes be difficult to engage with a wider community of other artists. For some, this is an ideal scenario, affording control over the work...
In Part 1, I mentioned some of the ways a composer can get their music heard. In this article, I want to highlight the 11 Golden Rules of submitting your work to performers, either through a Call for Scores or as an unsolicited approach. My ensemble, rarescale, has an open Call for Scores, and...
There comes a point in the life of most (if not all) composers, when the computer-generated realisation of their music is no longer enough, and some sort of contact with live performers is required. Employ some musicians. Go to a composer workshop, such as the one held recently at the OCA Enter a competition...
It was a great honour to be invited to lead the first OCA Music Workshop on 12th November. The day focused on compositions for solo flute, and students were asked to submit short pieces which would be discussed during the workshop. A fantastic group of 16 music students descended upon the OCA’s Head Office...
What makes a good performance? Undoubtedly, within an academic environment, a certain level of technical accuracy is required, with the right notes and the right rhythms seen as an essential part of achieving a good mark. Additionally, stylistic concerns are expected to have been given due consideration by the performer, demonstrating the ability to...
Contemporary music can cause passionate enthusiasm in some and complete bafflement in others. For many, there remains a sense of dread, and an expectation of the ‘squeaky gate’ incomprehensibility that has become the new music stereotype. For the general public, classical music is a niche market, and within that, contemporary music has an even...
I’ve been involved with music-making for virtually my whole life. My formal musical education began with (at my insistence) recorder lessons at the age of three, and then eventually, flute lessons, when I was just about big enough to play, at the age of six. I learnt to read music at the same time...
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