This offering, popular in five previous runs with CCS composers, returns—again with a module on contemporary writing for the pipe organ , which holds often overlooked possibilities for today's composer.
Previous classes have produced many short keyboard essays that have appeared both in concert, and in the recording studio at Kerr Hall.
Keyboard writing is an area that plagues and discourages young composers who are not first pianists. As in orchestration, there are tricks and secrets to writing effectively for the keyboard, and it has never been--(nor will it ever be)--necessary for all composers to possess virtuoso skills. The practical exercises will not be in direct imitation of composers or styles. They will aim at one practical result: the effective realization of keyboard textures. Original ideas will be recast into one or another texture, so that we will be orchestrating with keys.
Keyboard jazz idiom is not the focus of the course (it deserves a major study of its own).Rather, we'll be tackling the concert masterpieces of composers such as Ives, Dallapiccola, Boulez, Crumb, Messiaen, Cage, Ohana, Rochberg, Reich, Hindemith and Rzewski. We'll touch on the familiar, such as the finale of Prokofiev's 7th Sonata...and the offbeat, such as the bizarre, head-scratching complications of Sorabji's "Opus Clavicembalisticum."
The instructor is a keyboard composer and a concert musician with decades of experience on piano and organ, and commercial CD performances released on the CRI, Neuma, innova and Albany labels.
Open to anyone currently studying musical composition at UCSB.The composer furnishes all study material. ASSURANCE of 4.0 units credit is based on accrual of earned points.An award of 4.0 units will entail completion of all 6 assignments to an average or higher-than-average level.