|
|
composer mentoring |
|
|
|
|
|
|
|
|
|
|
|
background |
|
|
2008, canadian composer andré cormier
asked me, whether i could imagine having him as a student for an intensive
period of study (3 weeks). |
|
|
i had been teaching and coaching
composers on a private (non-institutional) basis for many years, but never
had thought of anything like this before. |
|
|
being very enthusiastic about the idea
i happily agreed. |
|
|
helped by a grant of the canadian council of the arts andré
came to düsseldorf july 2009. |
|
|
this
very positive experience (both for andré and for me) inspired me to
think of a way to make this opportunity available to other young composers as
well, so they may benefit from my long-standing experience not only as a
composer and teacher, but also as a concert organizer, performer and
publisher. |
|
|
|
|
|
|
|
|
format |
|
|
you come to düsseldorf for a mentoring
period of 1, 2 or 3 weeks. |
|
|
your stay will be an intensive period
of study, discussion, analysis, commentary, advice, support based on your
personal needs and wishes. |
|
|
we work out a personal work plan and
meeting schedule. |
|
|
in addition, since i am engaged in a
very lively concert series for experimental music in düsseldorf, you are
likely to meet other interesting composers and musicians. |
|
|
also, including some of your music in
these concerts might be possible. |
|
|
|
|
|
|
|
|
some possible
subjects |
|
|
* process of composing |
|
|
* works finished or unfinished (your work
or works of other composers you would
like to talk about) |
|
|
* life
as a composer |
|
|
* collaboration with performers:
rehearsal methods, concert preparation |
|
|
* producing concerts |
|
|
* collaboration with other composers |
|
|
* general philosophies regarding
experimental art, music, composition |
|
|
* use of time and silence – techniques
and approaches |
|
|
* musical material, sound/silence |
|
|
* relations between works (work series,
collections, etc.) |
|
|
* implications of writing for one, two,
three, etc… performers |
|
|
* (alternate) tunings and its
implications |
|
|
* musical notation (various forms of
musical scores, text scores, etc),
implications for performance |
|
|
|
|
|
|
|
|
some possible
goals |
|
|
* (re)energizing your creative process:
overcome stagnation, fears, writer’s block |
|
|
* develop a deepened sense of
connection to your work |
|
|
* find out your artistic “truth”: what
is it your work is affirming |
|
|
* develop a renewed sense of purpose as
regards your work |
|
|
* challenge artistic, social, personal
norms |
|
|
* push boundaries |
|
|
* find new directions |
|
|
|
|
|
|
|
|
fee |
|
|
1 week 600 € |
|
|
2 weeks 1100 € |
|
|
3 weeks 1500 € |
|
|
|
|
|
|
|
|
lodging |
|
|
i can help you find an economically
priced accommodation for the time of your stay. |
|
|
|
|
|
|
|
|
application |
|
|
if you are interested, please mail me
at |
|
|
|
|
|
or call me at: |
|
|
00.49.2129.915367 (office) |
|
|
00.49.2129.4954 |