![]() Each student participates in collaborative projects with at least one other student, developing musical materials that can take any form. ![]() The classes include practical workshops where students develop their ideas, and seminars in which case studies in collaborative practice are examined. These classes bring together composers and performers in a collaborative environment in which musical ideas can be exchanged and developed, and the processes of collaboration explored. Through a series of workshops, the participants will explore methods of creating music theatre, and develop their abilities and skills as collaborative artists. This elective explores a mix of historical and current factors that underpin programming decisions across a range of music-making experiences.Īt the heart of this elective has always been the question ‘how do we communicate most effectively in concert scenarios?’ – eclipsing the more fundamental issue of ‘what is a concert?’Ī three-day intensive course in collaboration with Glyndebourne, led by Artistic Director Stephen Langridge, for singers, instrumentalists and composers. The Composition elective is available for postgraduate performance students who have prior experience of instrumental and/or vocal composition at degree level (or equivalent). For 90 minutes each week an eclectic selection of music is studied, with class discussions focussing upon analytical issues or matters of interpretation, and across history are also studied. For more information please visit our Artist Development pages on the website.Īn elective designed to hone listening skills across a wide variety of styles and genres. Artist Development forms a part of the broader range of your work and activities, which we assess over the course of your studies via a portfolio. Practical sessions and intensive electives through the year include working with online content, personal recording techniques, preparing professional documents, auditioning well, how to get funding, and self-employed finances. We want you to leave here as fully-rounded, creative and adaptable musicians, with the tools and know-how to gain employment in unpredictable times. Our Artist Development provision is here to prepare you practically, creatively and strategically for a sustainable career in the music profession. This elective will explore both technical aspects of music analysis and wider aesthetic and musicological topics, with a particular focus on bringing these areas together. But it will always be purely aesthetic and not structural considerations which determine their classification.The modules listed below will vary slightly each year in response to student needs and the evolving musical world. There may be some small knots or discoloration in the piece. These pieces have less curl than the higher grades, but are just as strong and stable. Many apprentices or people interested in lutherie start using A grade backs for their first projects. ![]() It is undoubtedly one of the most pleasant woods to work with. It is easy to work despite its hardness (although it requires sharp tools) and a bright and attractive finish can be achieved simply by using a scraper or planer, without even needing sandpaper. It is a wood with no appreciable grain, which in many cases eliminates the need to use a filler. Add to this the incredible look it gets once varnished and you will understand why it is so successful.Įuropean maple - Acer pseudoplatanus - is a light-colored wood, with golden reflections that intensify when oxidized. ![]() The reason is simple: maple is for all its properties (physical, aesthetic, tonal) the best choice for multiple parts of the instrument. This highly prized wood has been used for centuries in bowed string instruments, virtually without exception. Few parts of an instrument are more beautiful than a curly maple viola back. ![]()
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