Sunday, September 16, 2012

Blog Index — Organized by Topic (® 2012-September)

Below is an index of most blogs posted thus far. I omitted entries that I didn't think would be very interesting or relevant, such as reminders of deadlines, concert congratulations, order of class presentation, etc.

These are loosely organized by topic to facilitate browsing; clicking on any blog title will take you to that page. You may find some that give you ideas about composition techniques, or that contain useful things to think about when composing, including suggestions for what to try when you are stuck.

Originality and Art
Originality and Quality of Initial Musical Ideas
How Important is Originality in Art?
Is Originality a Detriment in Art?
Originality — Does it have Any Role in Art?

Argh! I'm Stuck!
Strategies for Becoming Unstuck
Creative Angst... Welcome to the Club!
Oh, the Pain of it all!

Atonality – What's in a Name?
Why Atonal Music?
Atonal — Even the Word Sounds Unpleasant!
Atonality = Noise?

On Composition (Miscellaneous Topics)
When Your Reach Exceeds Your Grasp
How Much Theory do You Have to Know to be a Composer?
Bob Ross, Empowering the Masses, and Fear of Failure
On the Perception of Progress
I Love it When a Plan Comes Together
You Might be a Composer if …
The Ross (née Heisenberg) Uncertainty Principle, and Other Musical Dichotomies
How to Become a More-Skilled Composer
Talent? Skill? What's the Difference?
Inspiration, Perspiration, and Perspicacity
Express Yourself? Really???
Writing a Play; an Analogy to Composition
Keep? Discard?
Notation Software Woes
Musicworks Magazine

Composition Issues (10-part series)
1. Originality and Quality of Initial Musical Ideas
1.1. The quality of ideas may not matter very much in determining the quality of the complete composition that emerges from them; and
1.2. The degree to which these ideas are original may not matter very much.

2. How do you Develop Compositional Craft?
2.1. Study the music of others.
2.2. Compose as much as you can.
2.3. Invite criticism from others.

3.1. Live with it for a while.
3.2. What's it about?
3.3. Does it change character?
3.4. What is its function within the context of the piece?
3.5. Structural Analysis.
3.6. Harmonic (or Pitch, Scale, etc.) Analysis.

7.1. Less is more, vs. More is more.
7.2. Always leave them wanting more, vs. Give them what they want.
7.3. Don't treat the listener like an idiot, vs. There's a sucker born every minute.
7.4. There can be 'too much of a good thing,' vs. If you have a good idea, then stick with it!
7.5. The George Costanza approach.

8.1. The three models for composers' roles.
8.2. Mastery or Mystery?
8.3. The value of a plan.
8.4. Getting stuck, and possible workarounds.
8.5. Don't obsess!
8.6. Challenges = Opportunities for inspired solutions!

9. Taking your inspiration from wherever you find it

10. Inspiration, Perspiration, and Perspicacity

Thematic Growth, and other Technical Considerations
Thematic Growth (1)
Thematic Growth (2; Simon's Guest Blog)
Thematic Growth (3)
A Sampling of Post-1900 Materials of Music; See Anything You Like?
Things to Consider when Composing for Piano

Nuts and Bolts; Score Details, etc.
On Musical Detail (1)
On Musical Detail (2)
On Musical Detail (3)
What is a "Fair Copy?"
Adding Multiple Ossia Bars in Finale

Composition Projects
Project 1 - Atonal Theme and Variations
Project 1 - More Details
Project 2: Using Musical Clichés in Creating Art Music
Project 2: Using a musical style or gesture as a point of departure
Project 2: Recontextualizing and atonality
Project 3: Fun With Scales and Modes
Project 4: Composition for Wind Band
Project 4: Jessica's Tips on Writing for Youth Band
Project 4: Clark's Tips on Writing for Wind Band
Project 5: Write Three Character Pieces for Solo Piano
Project 6: Choice of Text Setting, or Genre Recontextualization
Project 7: Writing for Chamber Ensemble

Audience Response to Contemporary Classical Music
"Audiences Hate Modern Classical Music Because Their Brains Cannot Cope"
On the "Hatred" of Modern Classical Music Due to the Brain's Inability to Cope
Marketing Contemporary Classical Music (1)
Marketing Contemporary Classical Music (2)

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