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brittany j. green

COMPOSER | CREATIVE | EDUCATOR

 

“her writing is cinematic in the best sense: gestural, minimal yet detailed, but packing an emotional wallop.”

-Chicago Classical Review

bio

Brittany J. Green (b. 1991) is a North Carolina-based composer, creative, and educator. Described as “cinematic in the best sense” and “searing” (Chicago Classical Review), Brittany’s music is centered around facilitating collaborative, intimate musical spaces that ignite visceral responses. The intersection between sound, movement, and text serves as the focal point of these musical spaces, often questioning and redefining the relationships between these three elements.

Her research and creative interests include mapping aural gestures to gestural recognition technology and exploring virtual reality platforms as a tool for experiencing immersive, intimate musical moments. Her music has been featured at Society of Composers National Conference, New York City Electronic Music Festival, SPLICE Institute, the West Fork New Music Festival, and Bowling Green State University Graduate Conference. She has presented research at the North Carolina Music Educators Association Conference, East Carolina University’s Research and Creative Arts Week, Darkwater Women in Music Festival, and the Intersection@ Art and Science Symposium. From 2018-2019, Brittany served as composer-in-residence for the PCS/ECU Young Composers Project. Current projects include commissions from JACK Quartet as an inaugural member of JACK Studio Artists, as well as work with Margins Guitar Collective and bassist Kate Alexandra. 

Brittany holds a BM in Music Education from the University of North Carolina at Pembroke and a MM in Music Composition and Theory from East Carolina University. She is currently in residence at Duke University, pursuing a Ph.D in Music Composition as a Deans Graduate Fellow.

works

Large Ensemble Works

Edge of the Sacred Rainforest (2016), 4'

Wind Ensemble

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Speak (2017), 4'

Gospel Choir

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solo works

Portraits (2017), 10'-15'

Piano

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Sonatina (2017), 5'-7'

Flute with amplification 

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25 (2017), 5'

Viola, Live Electronics

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Abo Ibawi (2019), 6’

Guitar, Live Electronics

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electronic works

Feel Like This (2017), 6'

Fixed Media

|Listen|Read|

25 (2017), 5'

Viola, Live Electronics

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Conversations in a Private Room (2018), 15'

Body, Live Electronics

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The Sound of Color (2018), 6'

Virtual Reality Installation

|Learn More About This Project|

Repartee (2018), 5'-15'

Audience, Live Electronics

|Listen|Read|

Abo Ibawi (2019), 6’

Guitar, Live Electronics

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…to experience life (2019), 8’

Trumpet, Percussion, Piano, Live Electronics

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Chamber works

Colors (2016), 6'

Cello, Bassoon

Light (2017), 3'

Chamber Vocal Ensemble (SSSSAA)

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Intersections (2017), 5'-15'

Open Instrumentation 

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Maps (2017), 5'-20'

Any number of players divisible by 3

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Men nor Gods (2017), 11'

Soprano, Percussion

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let love speak...then let love be silent. (2017), 6'

Percussion, Speaker

|Read|

The Sounds You Left Behind (2018), 5'

Soprano, Flute, Cello, Piano

|Listen|Read|

When I Rise Up... (2018), 5'

Mezzo-Soprano, Violin

|Read|

…to experience life (2019), 8’

Trumpet, Percussion, Piano, Live Electronics

|Listen|Read|Watch|

 

Kinetic_photography.jpg

Sounds

by Brittany J. Green

To hear more, visit my soundcloud.

Image courtesy of Thesmart177.

press

Press Kit

Publicity Photos

(Click to enlarge)

social media

 
 

Current Happenings

 
 

Calendar of Events

 

research

 

A Comprehensive Analysis of Movement 1 of Jennifer Higdon’s Violin Concerto

Jennifer Higdon (b. 1962) is quickly becoming one of the most performed and sought after American composers of our time. Her works have been played by all major American orchestras, along with several major European orchestras. As a Pulitzer Prize and multiple Grammy winner, she writes exclusively for commissions and her music is an audience favorite among concertgoers. The primary focus of this research is to investigate the first movement of Jennifer Higdon’s Violin Concerto, addressing concerns of linear and contrapuntal development, along with the harmonic language employed in this movement, to prove that these traits are at the heart of Higdon’s compositional voice and are what make her works accessible, yet engaging.

The thesis will provide a formal analysis of the complete work, noting key elements of each movement and notable connections between the three movements. A formal analysis of the first movement will then be provided. Following these formal analyses, a discussion of pitch collection, voice-leading, motivic development, linear unfoldings and contrapuntal devices utilized in the first movement will be explored, including parallels between the movement’s title, 1726, and the pitch and intervallic content exploited throughout the movement. Lastly, Higdon’s harmonic language will be examined, with discourse regarding the use of triadic figures, polychords, and planing.

 store

 
Feel Like This (MP3)
1.99
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Portraits for piano
30.00
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Intersections
25.00
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Light
3.99
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To commission a work please complete a contact form or email to britt@brittanyjgreen.com.

Contact

Please send all inquires to britt@brittanyjgreen.com or complete the form below.

 
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