First off, he led us in a listening exercise in which he tried to free our minds from the assumptions and expectations people are constantly and unconsciously making. Before saying too much to us, he played what we thought was going to be a recording of Beethoven’s 6th. Right when we were all convinced we’d be listening to this piece a, THUNDEROUS and ROARING crash came through the speakers, and for the next few minutes we were bombarded by intense and surprising recorded sounds of storms and collapsing buildings. Dr. Rudy did this to prove that we are most often listening for something when hearing music, rather than listening to something. Right away, many of us knew what style of music we were listening to, what instrumentation, and some of us even knew the exact piece. All the assumptions and expectations can often lead the listener astray from the intent of the composer. As composers, we can utilize audience expectation as a tool, but we also need to be aware of our own expectations when listening to new music so that we are not depriving ourselves of new experiences and potentially great learning moments. Some of the most important moments I’ve had as a composer are those when I hear something incredibly beautiful and think “How did they do that?!”
Immediately following the listening exercise, Dr. Rudy presented some of his music to us. Saying his body of work is diverse is an insulting underestimation. He’s put out several albums of electro-acoustic music built around field recordings of everything from hail to farts, he’s written a 30-minute long improvisatory piece based on the theory of chakras, he’s written a super groovy concerto for alto sax and wind ensemble, etc. etc…Please check out this man’s music, it is interesting, beautiful, and inspiring.
To close out the Rudy centered activities, he and Michael Hall performed the previously mentioned 30-minute long improvisatory piece. It led to a thought-provoking discussion regarding the efficacy of improv focused performances, i.e. choosing the right venue, successfully including/engaging the audience, and we discussed the line between pure self-indulgence and actually performing with the intent to entertain others. It was a fascinating and enlightening discussion. We’ve been very lucky to hear Michael’s thoughts on composing and improvising from a performers point of view. He is of the highest caliber of players and incredibly wise and open-minded.
Later in the day were the “track” specific activities. There are three tracks: the standard track with Dr. Gibson, the improv track with Dr. Rudy, and the pedagogy track with Dr. Mobberly. I am on the pedagogy track. I love teaching, so I knew this would be the track for me.
On the first meeting with Dr. Mobberly he discussed the fact that there is almost no literature on composition pedagogy. For someone steeped in the world of academia, such as myself, it may be a good idea to develop my higher-ed teaching skills. I absolutely love watching people learn, it is one of life’s greatest pleasures for me. I look forward to discussing various methods and observing some of the greats here at UMKC work their pedagogical magic!