who is brittany j. green?
Brittany J. Green (b. 1991) is a North Carolina based composer whose creative and scholarly work 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. Additional interests include deconstruction and analysis of performative and experimental works by LaMonte Young, Pauline Oliveros, John Cage, Morton Feldman, Terry Riley, and Alvin Lucier, with a focus on redefining how sound and time are perceived in musical experiences.
Brittany holds a BM in Music Education from the University of North Carolina at Pembroke and a MM in Music Composition and Theory at East Carolina University (ECU). During her residency at ECU, Brittany was a graduate assistant with the North Carolina NewMusic Initiative, a movement dedicated to engaging the Greenville, NC community in all aspects of new music culture- from commissioning to consumption of new music. As a graduate assistant, Brittany assisted with planning and grant writing for the initiative’s programming, presented grant writing workshops for graduate students, and served as a liaison between the NC NewMusic Initiative and the ECU Lab School on behalf of the initiative’s Young Composers Project. The Young Composers Project implements a 6-week curriculum that synthesizes basic music skills, teamwork, critical thinking, and creative and conceptual thought to yield an original piece of music. Designed for 3-6 grade students, the project helps students learn music through creation.
Brittany’s music has been featured at the New York City Electronic Music Festival (NYCEMF), GRIT Collective’s 2018 Fall Festival, Bowling Green State University Graduate Conference, and the Crossing Borders: Women Composers Around the World Concert Series. She has presented research and demonstrations on gestural mapping at ECU’s Research and Creative Arts Week (RCAW), Intersection@ Art and Science Symposium, and the 2018 North Carolina Music Educators Association Conference (NCMEA).
Brittany is a member of Pi Kappa Lambda Music Honors Society, Sigma Alpha Iota (SAI), where she serves as the community service chair for the Raleigh/Durham (RDU) Alumnae chapter, and Society of Composers, Inc. (SCI), where she serves on the national student council, and as the president of ECU’s chapter. As the community service chair for the RDU SAI chapter, she organizes monthly music events for the RDU community which include petting zoos, bucket drumming clinics, calls for scores, and recitals. As president of ECU’s SCI chapter, Brittany has spearheaded guest lectures, masterclasses, and panels on electronic music, collaborative work, and networking.
Brittany’s current projects include The Sound of Color Project- a interactive virtual reality installation that explores the mathematical relationship between sound and light through musical and visual gestures. Brittany is currently working as the composer in residence for the Young Composers initiative. A program that sends composers into classrooms to teach local children composition. The Young Composers initiative synthesizes foundational music skills with creative and critical thinking skills, and teaches the properties of sound, audio synthesis, and basic recording techniques. Students have the opportunity to write and record original works using music notation software and DAWs as well as experiment with audio synthesis and computer programming using MaxMSP.
Shorter Version (<200 words)
Brittany J. Green (b. 1991) is a North Carolina based composer whose creative and scholarly work 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 NYCEMF, BGSU Graduate Conference, and the Crossing Borders: Women Composers Around the World Concert Series. She has presented research and demonstrations on gestural mapping at ECU’s Research and Creative Arts Week, Intersection@ Art and Science Symposium, and the 2018 North Carolina Music Educators Association Conference. 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 a member of Pi Kappa Lambda Music Honors Society, Sigma Alpha Iota, and Society of Composers, Inc (SCI). To learn more about Brittany and her work, visit www.brittanyjgreen.com.
Feel Like This (2017), 6'
25 (2017), 5'
Viola, Live Electronics
Conversations in a Private Room (2018), 15'
Body, Live Electronics
The Sound of Color (2018), 6'
Virtual Reality Installation
Repartee (2018), 5'-15'
Audience, Live Electronics
Colors (2016), 6'
Light (2017), 3'
Chamber Vocal Ensemble (SSSSAA)
Intersections (2017), 5'-15'
Maps (2017), 5'-20'
Any number of players divisible by 3
Men nor Gods (2017), 11'
25 (2017), 5'
Viola, Live Electronics
let love speak...then let love be silent. (2017), 6'
The Sounds You Left Behind (2018), 5'
Soprano, Flute, Cello, Piano
When I Rise Up... (2018), 5'
the sound of color project
WHAT IS THE SOUND OF COLOR PROJECT
The Sound of Color Project is a virtual reality installation built around the idea of connecting light with sound. Using a color to pitch algorithm to draw connections between light and sound frequencies, the installation allows participants to explore a world where every color on the visible spectrum has its own sound.
In this immersive experience, participants will have the opportunity to explore each color and it's sound world and add their own visual and auditory elements to each world.
This dynamic immerse experience will be available (free of charge) for patrons in the Greenville, NC community in September 2018.
Interested in this project? Request an installation or contribute by clicking the buttons below. All contributions will go towards purchasing equipment needed to bring this project to our community. All contributors will receive invitation to the world premiere installation, an exclusive event just for contributors.
Calendar of Events
Sonatina for amplified flute
Natalie Smith, flute
March 25, 2018|AJ Fletcher Recital Hall|Greenville, NC
Robin Meiksins, flute
52 weeks of flute initiative
portraits for piano
marianne parker, piano
march 25, 2018|Skokie Public Library| Skokie, IL
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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.
Coding in Music: An Introductory Course Curriculum for Designing Mono Synthesizers
The primary focus of this curriculum is to explore and synthesize the scientific and mathematical properties of sound and basic coding skills to design a digital mono synthesizer and map it onto a midi controller, LEAP Motion sensor, Myo Armband sensor, or Cell Phone. Designed for 9-12 grade students, this 16-18 week course unpacks the visual coding language used in MaxMSP and explores MIDI language and its use, digital and electronic sound sources, sound oscillators, audio synthesis, and digital mapping. The course concludes with students designing their own synthesizer and mapping it to one of the above mentioned external devices.
The curriculum is aligned with North Carolina Essential Standards B.ML.3, I.ML.3, B.CR.1.2, B.MR.1, I.MR.1, I.CR.1.2, and P.CR.1.3, enabling students to create music using a variety of sound sources, understand relationships between music, math, science, and technology/coding, explain how advances in music technology influence traditional music careers and produce new opportunities, and understanding the interacting elements in experimental electronic, electroacoustic, and computer music to respond to music and music performances.
Unit 1: Coding 101- Learning the Language of MaxMSP
Unit 2: Building Functions
Unit 3: The Big Ten- Learning 10 Fundamental Objects in MaxMSP
Unit 4: Using MIDI to Track Data and Create Sound
Unit 5: Audio and Oscillators in MAXMSP
Unit 6: Synthesizers
Unit 7: Designing a Mono Synthesizer
Unit 8: Connecting and Mapping External Objects
Unit 9: Designing Your Own Synthesizer
1 Computer per 1-2 students equipped with MaxMSP 7 or higher
Class Set of Headphones
Microphones (internal computer or headset microphones acceptable)
1 set of Speakers
One or more of the following to be supplied by either the teacher or student
1 Keyboard Midi Controller per student
1 Standard Video Game Controller per student
1 Cell Phone, iPod, and/or iPad equipped with TouchOSC per student
1 Myo Armband and Myo Mapper software per student
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