To find out more details about the transfer to The Open University see A New Chapter for OCA.
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This is the first in a series of blogs where I introduce OCA composers (or, indeed, anybody else who might be interested) to UK-based ensembles, particularly those that are young, exciting, and focus on performing newly composed music.
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In this series of blog posts I’m going to take a look at a tool which millions of music students and professionals use every day: Sibelius.
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Join OCA tutor Chris Lawry and saxophonist, composer and publisher Keri Degg on Saturday 29 July 2017 for a composition workshop at MAC Birmingham. The day will consist of advice and discussion on writing for saxophone and getting pieces published and will feature performances and feedback of student compositions.
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Once again, the Open College of the Arts are offering subsidised places to attend rarescale’s composition summer school. This residential week takes place at Harlaxton Manor near Grantham, Lincolnshire from 31 July to 5 August, with tutors Carla Rees and Michael Oliva.
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We are excited to announce the formation of the Open College of the Arts New Music Collective, which is open to all OCA students, irrespective of subject specialism. The aim of the group is to connect composition and performance, through practical experience of playing new music, including student works, improvisation and exploring well-known contemporary works.
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Pauline Oliveros 30 May 1932 – 24 November 2016.
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I am delighted to announce that the writing of the Level 4 Stylistic Techniques course is underway. The new course combines composition with music history by exploring the main compositional styles of each era through case study works by key composers.
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One element of studying Music from the Present to the Past is to periodically reassess one’s own definition of what music is.
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Film music can and should be the trigger for memory, the power of cinema that can stay with us always.
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While “spellbinding”, “astonishing” and “glorious” are not words common in reviews of 21st century classical music, Hans Abrahamson’s Let Me Tell You – which has garnered a slew of ecstatic praise since its premiere in 2013 – has commanded them all. Despite over twenty performances across Europe – a fairly big deal for a new piece of concert music – the work only arrived in the UK in August of 2016, when it was performed at the Proms by the City of Birmingham Symphony Orchestra, under the baton of its new chief conductor, Mirga Gražinytė-Tyla.
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