Brandon Nelson has an intriguing blog aimed at composers that we all should subscribe to. The article I would like to direct you to is his recently (5-18-14) published “Filling the Gap: Teaching Young Composers How to Earn a Living.” This article should be downloaded into the brain of every freshman composition major on the first day of school. It’s a brief article, but loaded with common sense. He succinctly touches on Commissions (Networking. Networking. Networking.), Self-Publishing, Commercial Publishing, Contests (check out The Composer’s Site), Recording Sales, Grants, and Scoring for Film/TV/Stage (not much in this category – he admits to having no experience here).
A lot of great information and advice in a small space. Read it today!
A MOOC is a Massive Open Online Course – a gigantic development in (free) distance education. MOOC courses are often oriented toward science and not so much toward music, but there are interesting offerings out there, even some of interest to composers.
It’s not that I’m so smart, it’s just that I stay with problems longer. –Albert Einstein
Every education system on earth has the same hierarchy. Arts are on the bottom. In the arts, music is at the top, dance is at the bottom. As they grow up, we educate them from the waist up. Who are the winners of public education? The purpose seem to be to produce university professors. Typically, they live in their heads. They look on their body as a form of transport for their heads. A way of getting their head to meetings. All educational systems are geared for industrial employment. Don’t do music, you can’t get a job in it. Lots of people think they’re not talented because the thing they’re good in wasn’t valued in school. So many people are graduating from school, degrees are not worth anything. Academic inflation. Intelligence comes in many forms. It is dynamic, interactive, distinct. Creativity comes through connecting diverse disciplines. – Sir Ken Robinson
Without creativity we have no art, no literature, no science, no innovation, no problem solving, no progress. – A.J. Starko, Creativity in the Classroom
I just discovered a new web site – Composer Focus – that looks fairly new – not a great deal of content yet, but what there is is excellent with the promise of more to come. especially the promise of offering multimedia courses that cover (quote):
Working in TV/Film and Game Music
Very attractive site with excellent offerings. One thing that looks interesting is Articles>Roundup, which are lists of stuff (must be the British term for lists), e.g.
5 books to learn how to compose for video games
Top 5 orchestration books
8 unique and unusual sample libraries
Choir sample library roundup
iPad Music App roundup [I can use this for my Creativity in Music semester course]
Check out composer Kevin McLeod’s variegated site Incompetech. He gives away a lot of his music (royalty free), but charges for custom projects. The site also offers (free) graph/grid papers, calendars, and more (including Really Bad Jokes).
I just (re)discovered a terrific composer site – that of Aaron Gervais. It is a wonderful collection of all sorts of stuff, much of it self-promoting (that’s what sites like this are for), but Gervais is also an intelligent and thoughtful writer and he gives us a number of useful short articles on various subjects.
Working for Free: Helpful or Harmful?
Working Weekends Makes You a Worse Composer
A Machiavellian Guide to Becoming a Composer
Why Composers Should Drop Out of University (and What They Should Be Learning) – Parts 1 & 2
(“Education begins where academia ends. You make connections with people, you find a community, you decide what really matters, you find time to do what you love, you find a way to earn a living. You might do some of this while in school, but little or none of it is taught at school. So why don’t more composers just skip straight to the career and not bother with degrees?”)
I like to think of the notated versions of my compositions as beginnings, not ends. I am always happy when performers inject their own visions and imaginations into my music. Composers don’t know everything. If we make performers partners, we will have a lot more varied and interesting performances. Why should a composition be frozen forever in one single version (recordings tend to make us think that there is only one valid version of a piece). The performance below of my Gospel Time for trombone quartet is good evidence of great imagination. There is no singing in my version – it was delightful to see that they dared to transform the first section into a sort of wordless sung hymn. There were more liberties in the middle – with a spontaneous oom pan section – what fun! They also had fun with the ending – more singing; plus a late coda encore. Good for them. I really enjoyed their performance, and clearly, so did the audience
The “International Journal of Contemporary Composition” (IJCC) is an online peer-reviewed open-access journal, dedicated to providing the worldwide musical audience with free access to high-quality works by contemporary music researchers and composers.
“IJCC welcomes submission of unpublished original research articles and modern music composition scores, which are not under review in any other journals.
“IJCC website plays the role of a music producer center. Music producers visit our site in search of contemporary music production.
“IJCC website also allows[listening to] the music online.
“IJCC is published by the International Association for Academic Research”