A Week Teaching Music at Oldenburg University

The week of 31st October I was at Oldenburg University as part of the Erasmus Scheme. This all occurred because the Professor of Music there Violeta Dinescu approached and invited me to go and teach. This was my first such trip and I was not really sure what to expect. It was a most enjoyable week during which I learnt much about the system in Germany and their approach to teaching music - the lecturers there were very welcoming (especially the composer Roberto Reale who was a great help). The following observations may not be precisely correct but they are what seemed to be the case to me at the time.
   It seems to me that lecturers at Oldenburg are much more independent than is the case the UK - there seemed to be a greater autonomy in the courses and what was offered by lecturers. In some of the courses/modules there were student from all years which is quite different from what happens at Kingston (although some 3rd year classes are taken by MAs). The students at Oldenburg seemed to be very serious and committed students, although this might be because they were all planning to become music teachers. The course has 3 years for the BA and a further 2 years for the MA. Before they can teach in schools they also have to undertake school observations. Students at Oldenburg have a good theoretical background and all seemed to have some ability on the piano. They seemed a little reticent and reserved in my classes but that may have been because they had to speak in English.
   It was good to see lots of practical music-making going on to a good standard (I heard the Wind Ensemble and Choir). I particularly enjoyed playing 'Katzen Musik' (Cat music) with Axel Fries - it was a really inspiring class exploring improvising with bottles and wine glasses. One quirk of the German system caught me out and that was the 'academical quarter hour' - all classes start 15 minutes late and finish 15 minutes early - no-one had told me that because it is so ingrained in Germany. I thought this was an excellent idea, as in UK there is often no time between classes. However they do start at 8 am (or 8.15) which would be less popular. It was also odd to see chalk still being used and I was pleaseed to see some OHPs. The German students are also very polite and at the end of classes all knock on the tables in approval. The food in the canteen was also excellent and apparently all organic - I really enjoyed eating at the Culinarium where the food was cooked in front of you. All in all, Oldenburg is an excellent place to visit.

The Basics of Composing Music: a Personal View

I have just spent a week music teaching at Oldenburg University which was both enjoyable and rewarding. It took me a while to realise that there is an academical quarter hour - all sessions start 15 minutes late and end 15 minutes early - an excellent idea I think. As part of my teaching I decided to think up a beginners' guide to composing as some of the students had done little (although they were excellent students). In fact I didn't have time to cover all the elements below in the class.

A Very Brief Beginners' Guide to Composing Music:

Stage 1

1. Listen to lots of different music - live and recorded.

2. Decide what music you really like.

3, Analyse in depth the music you really like - find out how it is put together in detail.

4. Try to create your own versions of the music you like - perhaps mixtures of different music.

5. Get your music played.

Stage 2

6. Before starting a piece think about what the concept (idea) of the work might be - what are you aiming for?

7. Think about the structure you need - look at possible other models.

8. What instruments  are you going to use? Make sure you find out about them.

9. Try to make the most of your musical material - use improvisation to help your ideas grow.

10. Try to avoid being too repetitive or too fragmented - find a balance between these two extremes.

11. Always be self-critical of your work.

12. Compose music because you want to  - not for any other reason.

13. Get a thick skin as you will need it - but do listen and consider criticism.

14. Don't just try to please your teacher- that is always a dangerous path. What happens when your teacher changes or you stop being a student?

15. Never write complex music for the sake of it - simple music can be more effective.

Thoughts about Judging a Composition Competition

I have just spent a week in Germany teaching at Oldenburg University (of which more later when I get chance) and I was kindly asked to be on the jury of an Internatoional Composition competition (percussion piece for medium level players) whilst I was there. There were 112 (more to come) to view from all over the world  - which was fascinating (and quite hard work). What was also very interesting was seeing the same basic errors again and again. So here are my observations which may be of use:
1. Too many were poorly notated or confusing (especially the rhythms).
2. Too many scores were very difficult to play when the guidelines stipulated that it was not for professional level.
3. Given that is was for percussion; few really explored rhythm in a fashion that was audible.
4. Many were very repetitive and lacked development.
5. Many had a very dense unvarying texture.
6. Few had any really sense of drama or shape  - which is really important in a piece of music.
7. Many used new notation which would take players a long time to learn and understand - why make life so difficult for players? We want them to play our music not find reasons not to.
8. Few candidates seem to have really thought deeply about the published requirements of the composittion - for example that the name must not be on the score but in a sealed envelope (relatively few did this).
9. However there were some execellent pieces - by candidates who had actually read the instructions and thought hard about what is needed.
10. Do think about the title - it needs to conjure up an image for the listener. 
11. Don't write for the wrong ensemble? Big band???

Another observation is that it is very difficult for juries in composition competitions when there are so many applications. Therefore if you don't win or get a placed position in a competition, it is not because you haven't written a good piece, it may be because there are simply so many works to consider.  It is best to make sure that your piece stands out in some way - so it is memorable. And make sure that you have written a good beginning...