Springing into the Semester

By the end of the semester, this image—a screenshot from Max/MSP—might make sense to me.

Despite the fact that here in Hartford we are looking at single-digit and negative wind chills tonight and tomorrow, the semester is just starting to warm up. [Hold for laughter...] With today being the first day of the spring semester at Hartt, I wanted to take a post to highlight what's on tap for this semester.

Because I am working on my artist diploma, I am allotted nine credits, which translates into three classes. My weekly composition lessons ("advanced composition") count as one of these classes; the other two classes I am taking are the "computer music seminar" and "Stravinsky and modernism." Here is a breakdown of each class:

Advanced Composition

Regarding the music I hope to finish this semester, my plan is threefold. First, I want to finish the string quartet I began in the fall that was shelved after I was selected to write the violin pocket concerto (Huldufólk). When I postponed work on the quartet in the fall, I had completed a draft of the entire first movement, but I envision needing at least two more movements before the work fully takes shape. As composers have traditionally held the string quartet medium in special regard, I intend to do the same.

The other two pieces I have my sights (and sounds?) set on are pieces for brass. One of these, which I began work on over the break, is for a brass quintet. The other, whose status is pending—though likely—is for a larger community brass ensemble. For a little while I was considering linking the two pieces by some means (programmatically, for instance), though at this point it looks like the pieces will be separate. Or will they??? Stay tuned!!!

Computer Music Seminar

With all due respect to the Hartt School, the names of its electronic music classes are notoriously vague. This will be my fourth class that meets in the electronic music studio; the previous three were titled "music technology I," "music technology II," and "introduction to computer music." The "computer music seminar"—which is a completely different course—covers a program called Max/MSP. I have no prior experience with this software, and the first class meeting is tomorrow, so my knowledge of the program is quite limited (as in virtually nonexistent). I do know (or think I know) that Max/MSP is used to write computer programs that can be used with music and other multimedia. You can see an example of this in action on the website of Brian Cook, a Hartt colleague. Who knows? Maybe by the end of the semester I'll have written a program for a robot that can compose for me.

Stravinsky and Modernism

From the Spring 2013 course catalogue:

The music of Igor Stravinsky has had a profound influence on modern composers. This seminar will examine the stylistic and technical factors in Stravinsky’s music as well as his influence on other modern composers. Works from Stravinsky’s early Russian period, middle neoclassical period, and late serial period will be studied.

The typical person who knows who Stravinsky was has probably heard of The Rite of Spring and maybe of Petrushka too, but both of these pieces are from Stravinsky's aforementioned early Russian period. Stravinsky's musical output is vast and extends well beyond what the average concertgoer will hear performed by major orchestras. In fact, Stravinsky was one of the few composers to grace both the 1900-1950 and Post-1950 list of pieces I had to learn for my comprehensive exams last year. I don't think I have ever taken a class that deals with a single composer, so I am looking forward to getting to go a little further beneath the surface that I otherwise would.