Described as “cinematic in the best sense” and “searing” (Chicago Classical Review), Brittany J. Green’s (b. 1991) 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 the 2019 SCI National Conference, NYCEMF, BGSU Graduate Conference, and the West Fork New Music Festival. 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.
Brittany is currently in residency at Wahl-Coates School of the Arts where she facilitates the Young Composers Project. A collaboration between East Carolina University and Pitt County Schools, the Young Composers Project provides students with the opportunity to compose original works in small groups, synthesizing elementary music theory, performance skills, and critical and creative thinking. The program also offers an introductory coding course where students explore Max/MSP and Scratch in collaboration with Arduino, Leap Motion, and midi controllers.
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.
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'
feel like this
realized in pro tools and max/msp
portraits for piano
marianne parker, piano
march 25, 2018 | Skokie Public Library | Skokie, IL
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Calendar of Events
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