CAITLIN ROWLEY
composer

Adventures in amateurism

In which I realise how embracing my 'amateur' skills could open up new areas for composing

Justifying normal

Experimental music in a standard recital format? Why I'm considering it for Crossing Dartmoor...

Chance vs choice: Composing with dice

A roll of the dice gives a fresh perspective on composed material

One evening, four songs

Four songs in a single evening? And a decent night's sleep? This research lark is proving useful!

The power of the single idea: How playing the comb is improving my composition

Even when a concept is simple, the music needn't be.

Procrastination = Fear

Risk-taking can be terrifying, but it can also lead to much greater rewards of artistic development than playing it safe... at least I hope it will!

Graphic scores, text scores, freedom and ownership

What elements make a piece 'belong' to a composer? How much does a performer's own personal musical language make a graphic score piece 'theirs' rather than 'mine'? A gentle toe in the water of the question of ownership via two recently completed pieces: the text score Parlour Game and the graphic composition Sepiascape with Grey.

Cut’n’paste job: Constructing a text from multiple sources

New term, new pieces! Starting work on research and text-construction for a new choral piece commissioned by the Trinity Laban Chamber Choir.

Reconciling research and commissioned work

Can the needs of a practice-based research project be balanced with those of a commissioned piece? I consider the question of how to create a place in my MFA project for my two major commissions this year.

Ending/Beginning

I'm currently gathering my thoughts together, following my final MMus recital. In particular, I am starting to work through the structure of my MFA project which will be the guiding force behind my composition projects for the coming academic year. Focusing on the intersection of text and visual art, this is giving a lot of scope for research and composition...