@ianpacemain Not as simple as that. Many music teachers are not equipped (whether time, training, resources) to provide what is needed. Even in a university department it can take determination to build a symbiotic relationship between composition and performance within a given framework
@ianpacemain The best kind of education for composing instrumental music (including that produced for media using a DAW) is one that supports a feedback loop between composition and live performance: for music composed using technology to become securely informed by embodied experience.
@ianpacemain It is a catastrophe, but don’t blame (the facilitating effects of) technology. It’s all about education. Students need to be given as much experience with live sound-making/real instruments as possible. It’s when they lose interest in live music-making that we are all doomed.
@ianpacemain Sounds like you have to decide what your point actually is… but from reading the thread I think you also have to be clear about the context in which Nic was speaking, otherwise you risk misrepresenting him
@ianpacemain Your question is offensive because it forces a comparison that’s irrelevant to the criteria used. AM is clearly occupying a place on the list (towards end) reserved for living composers. More relevant perhaps to ask why AM and not another living composer?
Today, amidst all the debate on details of the trade deal, one fundamental truth remains: that at a time of global insecurity, we’re no longer part of one of history’s greatest & most noble projects -bringing nations together to build peace out of the ruins of war #BrexitReality
This couldn't be more wrong from the PM.
Want to know why he won't be there tomorrow?
2015 - Banned onshore wind projects
2015 - Scrapped warm homes rules
2016 - Shafted solar energy
2017 - Flogged off Green Investment Bank
2018 - Forced fracking on communities
That's why
I’ve agreed to do this as the arbitrary nature of what is available ‘free’ is a continual frustration and I’m interested in solutions. Particularly, I am interested in how scores can become more freely available to view or study, without damaging composers’ income. Anyone?
I am giving a talk on gender parity for composers today. UK Population 51% female. UK Workforce 44% female. Composers commissions 13% female. Anyone out there know able to provide recent stats for commissions in UK?
Very pleased to be hosting this opportunity for students. Not many composers seem to know the ‘M’ in ‘RMA’ @royalmusical stands for ‘Musical’ not ‘musicological’ and that the conference is for them too. A day with the @LigetiQuartet is yours for the having! Spread the word!
The call for the @LigetiQuartet workshop at the BFE/ @royalmusical Student Conference (Sheffield, 10-12 January 2019) has been extended to Monday 14th November. May include works in progress/sketches. See details on the CeNMaS website https://t.co/0VN2n43dAz
@BBCr4today Hosting Germaine Greer to talk about gender dysphoria is like having Lawson on to talk about climate change, but far worse: every time she opens her mouth she causes harm to trans people. Not informed opinion but ugly prejudice. Don’t be complicit in this.