I'm in that antsy first stage of composing where nothing's written down yet and I'm still improvising at the keyboard in hopes of finding the next worthwhile hook to develop. This phase can be as short as a day, but in extreme cases, I've been stuck here for weeks at a time. My next project will be something for string quartet, since Dr. Wingate and I both agreed that my portfolio is just a wee bit brass-heavy right now.

I'm enjoying Modal Counterpoint more now that we're doing practical hands-on application stuff rather than lectures. Pedagogy of Music Theory is the most interesting; he keeps the class enthralled by using pointed comments to corral us towards the crux of his lectures. This approach keeps me thinking throughout the class, and is much better than the "me-talk, you-write" approach found in so many other classes today. Sadly, History of Music Theory is my least favourite class. I enjoy the readings, and I can understand why some people find the field fascinating, but honestly, history has never really attracted me. In the hours spent memorizing which monk wrote each treatise, I would prefer to be learning practical composition techniques. That's one of the complaints I have about Music Composition programs in general. From my limited perspective, I think people try too hard to train us as practicing theorists who can compose, rather than composers who know a little theory. Yes, a theory background is definitely a good safety net to have, but maybe if I had more composition classes, I'd be a better composer and not have need of the safety net!

"It's laughable to me how theories of music are agreed to be a law or the way it always is for composing music. [...] A theory isn't natural law. A natural law is something like gravity. There's not much you need to know about the natural laws of the physical universe to be a good composer. Theory is something that is created by someone to explain and set guidelines in order to help others, as well as himself, to create. It's on the level of philosophy." - Chick Corea in Jazz Composer's Companion