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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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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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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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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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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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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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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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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It is always a huge pleasure to see the assessment portfolios at each event, and to see each student’s development as they work through the degree. The music team are enormously proud of the successes of all of our students, and especially the personal breakthroughs that we see within the work.
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In conjunction with the University for the Creative Arts (UCA), we are currently exploring the viability of creating an MRes degree in Music. This would be an online course, part time over 2 years, taught in a cohort with a combination of individual supervision and group sessions.
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