I am a Masters student at the University of York. Music is the main and most potent passion in my life, and the study of which I shall pursue for the rest of my life.
I have a patient and friendly temperament, and have worked with and taught music to students from primary school to university level.
I have played double bass for the last 13 years, performing a range of repertoire from 17th-21st centuries, and have taught it for the past 5 years. As a singer, I have performed in choirs since sixth form, and have taught it for the past 4 years. Academically, I have trained and taught composition, stylistic harmony, theory, analysis, pedagogy and editing.
Despite the best efforts of the British government to devalue the rigorous academic study of music, I and many others consider it to be an invaluable subject which acts as a support to every other subject, including core and STEM subjects.
Harmony and counterpoint exercises require a high degree of both logic, and creative problem solving, which is necessarily an important part of the sciences, particularly maths and physics at higher levels, as well as computer science. In order to fully understand a set work that you are being examined on, it is essential to have a reasonable knowledge of the historical context (including the geography, political and social climate) of the work, in order to appreciate the structure and composition of the piece. Additionally, musical analysis requires a level of critical thinking, which is important in any type of source evaluation (which is essential in any university level subject as you will need to critically evaluate published materials).
In composition and song writing, many of the finest works demonstrate the composer's understanding of the poetic structures and can draw out, for the listener, ideas and subtexts that poetic analysis would reveal. Higher level performers must have an understanding of physiology and anatomy, as well as some degree of physical fitness in order to achieve the maximum potential of their bodies when playing, singing, or acting (incorrect use and understanding of such things can result in serious injury, including trapped nerves and tendonitis). More generally, reading and performing music has been shown to improve brain function, and Italian, German, and French are all modern foreign languages, without which comprehension of most musical scores would be almost impossible.
In conclusion, if you aspire to be a polymath, like Leonardo di Vinci, then music is the subject for you.
The sessions will be primarily discussion based, with completed reading and homework assignments (either from myself, or from the student's classroom teacher) will be used as objects of conversation. Past paper questions will also be introduced in this semi-formal manner, with the intention that the examined material will feel like writing common sense answers to straight forward general knowledge questions. If I bring up an essential concept which is not immediately understood, then a variety of methods will be engaged to ensure total comprehension, including diagrams, analogies, and examples. Music, as with any discipline well taught, is a lot of fun.
If you are considering progressing from A-Level to degree level music, then I can offer plenty of advice and ideas regarding ideas and strategies for both personal statements, and interviews.
If you think I could be the tutor for you, then send me a 'WebMail', or book a 'Meet the Tutor Session' through this website. If you can tell me your exam board and what you're currently struggling with then please do.
I look forward to meeting you!
|Music||A Level||£20 /hr|
|Before 12pm||12pm - 5pm||After 5pm|
Please get in touch for more detailed availability
This late renaissance piece has mostly syllabic text underlay, and is unaccompanied. There is a focus on light dotted rhythms and a primarily major tonality, which was a shift from the earlier 'minor' modes which dominanted the 15th century works. Moreover, the use of 5 part voices, all written for male performers is important, as higher female soprano lines were introduced much later in choral history. all of the parts are highly imitative, relating to the tenor line.see more