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Music and Maths 4: Probability and Composition

In the last blog post we looked at how strict processes can be used in composition, taking examples mostly from minimalist composers. In this post we’ll be looking at a more open-ended type of process: probabilistic decision making. In the process music we looked at last time, each rule had a single possible interpretation, exactly […]

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Foundations Music: Resources

Sometimes during study we can hit a stumbling block which we can’t immediately solve by ourselves. When this happens, please don’t suffer in silence or let your studies fall by the wayside. Instead, reach out to your fellow students or your tutor if you’ve hit a brick wall and don’t know how to overcome it. […]

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Music and Maths 3: Process and Music

This is the third in a series of blog posts about the relationship between mathematics and music. In this post, and the next one, we’re going to look in a little more detail at how mathematical processes can be used in composition. This may sound like quite a complex or heavy subject, but in practice […]

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Psappha Online Concert Group Study Event

In December, students studying on the Foundations and Music Degree programmes at OCA came together to experience a live Youtube broadcast of contemporary music performed by the Manchester music group, Psappha. Due to Covid-19 restrictions the concert was performed without an audience present but was the third concert of their season to be broadcast online. […]

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Composition Competitions

December sees the latest awards ceremony for the Ivors Composer Awards, celebrating new works in jazz, classical and sound art by UK based composers which have had a UK première within the last year. The Ivors is one of the largest UK competitions with one of the widest application remits and as such attracts a […]

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Old and new: Riddle Songs

Working with ancient texts and dead languages might give one cause enough to steer away, presenting the composer with all sorts of challenges in interpretation and performance. Add into the mix historical instrumentation and such projects could easily lose focus, become too academically dry, or even a pastiche of itself. The key, in my opinion, to the successful combination of old and new, is that the composer needs to respect what both sides have to offer any potential soundworld and then somehow keep them in balance. 

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Motivated to work in Equality and Diversity

The motivations for my becoming the OCA student representative for Equality and Diversity are deeply embedded in my personal experiences of racial and social class based injustices. I felt that this personal context was important to illustrate my interest and commitment to the role. But equally I wanted to add a real life dimension to the discussion on equality and diversity.

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Equality, diversity and inclusion in music studies 

I am proud to represent the OCA in the Creative Practice: Composition and Performance working group in the newly formed Equality, Diversity and Inclusion in Music Studies (EDIMS) Network, a cross-organisational group set up to ‘promote, support and share good practice in relation to EDI in Music Higher Education in the UK’

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Student stories: Jane Plumridge

I’m a mature student currently studying OCA’s Music Foundation Course before moving on to their Music Degree Programme once I’ve finished that. If it wasn’t for OCA it would be impossible for me to continue music studies to a higher level. You see, my situation is different to say the least. Let me give you a brief idea.

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OCA news: New Level 3 (HE6) music courses launched

For the last few months, the music team have been working hard in the creation of the first two Level 3 courses, which are now ready for enrolment.

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