Erasmus, is a wonderful opportunity available to all European Students, that includes everyone at CCCU. Erasmus offers university students a possibility of studying abroad in another European country for a period of at least 3 months and maximum 12 months.You can either choose to spend a semester or a year studying in another european country, and also test your language skills (or not if you prefer).
I study Music and French at CCCU, so I chose to do my year abroad at a French University, at the ‘Université Catholique de Lille’ which is in the 5th biggest city in France. At first, like going to university it can be quite terrifying, living in another country where English is not the first language, but you soon learn the lingo, and if it all goes wrong, most can speak a little english. My accommodation is an old monastery (chapel included, yes really, you get woken up by the organ when there is mass on Sundays) but we have a ping pong room, a fridge freezer in each room but almost no wifi. The place is full of other international students so I hardly speak any french in the residence but I speak it when I’m out and about or in class.
One of the best bits of being on a year abroad is the people you meet. Just in my residence, there are Spanish, American, Canadian, Venezuelan, Mexican, Italian, Austrian, German and even some Taiwanese and Japanese to add to the mix. Everybody hangs out together and there is no shortage of things to do in Lille, with the Nightlife in Europe being very vibrant, as well as the beautiful surroundings. It’s never a dull moment.
On the weekends, I travel with friends thanks to Ryanair’s bargain €40 (£32) return prices to capital cities across Europe. Also, from Lille, you can get the high speed train and be in Paris in an hour, be in Brussels in 30m, or even back to Canterbury on the Eurostar in 1h30. On a limited budget, I’ve been to see Rome, Paris, Brussels, Bucharest, watched FC Barcelona play, seen Roger Federer play, but the best thing of all? Getting a freshly baked baguette from the local boulangerie round the corner.
At the moment, all my lectures are in French. I around have around 20 hours of lectures a week. Sometimes it is extremely tiring and the work is difficult, but it is worthwhile. It has truly opened my eyes into what Europe has to offer all of us, especially students. You are eligible to get your student loan, and your maintenance grant from the UK as well as an extra Erasmus grant. For more information contact your head of department.
– Walker Darke, BA Music and French, Year 2
Sarah Crewe & Chris McCabe
This Thursday (22nd January) Free Range in association with the Zone poetry collective present two distinctive modern poets
Chris McCabe’scollections are The Hutton Inquiry, Zeppelins, THE RESTRUCTUREand Speculatrix, published in December 2014 by Penned in the Margins. He has recorded a CD with the Poetry Archive and was shortlisted for The Ted Hughes Award in 2014.
I will be playing piano too.
If you would like to see Free Range continue please consider donating regularly. As little as £1 per month makes a difference. You can donate here.
& Dominic Lash
This Thursday (15th January) Free Range is proud to present one of the world’s great saxophonists.
We had originally planned to present a trio with the guitarist John Russell but unfortunately he is unwell.
Free Range events happen at the lovely Mrs Jones’ Kitchen, 60-61 Palace St, Canterbury, Kent, UK. All events start at 8.30pm and entry is FREE! Doors open at 7.00pm and a full menu is available until 8.00pm. Light meals and drinks are available until 11.00pm. Friends of Free Range get a free glass of wine per event!
Also this Wednesday (14th January) the Canterbury Scratch Orchestra are playing a free lunchtime concert featuring music by Soft Machine, Cornelius Cardew, John Stevens and the Aphex Twin.
Based around songs from Schoenberg’s Das Buch der Hängenden Gärten Op.15 (1909), the Hanging Garden Project is primarily a study in musicological interdisciplinarity. The analysis history of the songs show them to be representative of two very interesting areas for investigation: firstly, the relationship between music and text (Schoenberg’s use of Stefan George’s poetry); and, secondly, Schoenberg’s early atonality. Both of these influence, and are influenced by, the ambiguous and dynamic structure of the songs, and this aspect provides the focus of empirical work. The notion of dynamic structure used here is suggested by recent work in performance studies (e.g., Rink, Spiro and Gold, 2011). All of the stages of the project aim to reconcile findings from empirical research and that from other areas (analysis, historical musicology, music and text). As well as Rink et al‘s dynamic structure, the project is also framed by the notion of affordances, based in an ecological approach to perception (e.g., Windsor and de Benezac, 2012). Recognition must be given here to the enthusiasm and positivity of the students from the School of Music and Performing Arts, who are and have been participants in all of the empirical studies for this project. Not only that, teaching analysis to second year students has been a real inspiration for the direction of the project. Stage 3 of the project was generously supported with QR money from the School of Music and Performing Arts, funds which were used for rewarding participants and for employing a data-input assistant (MMus student, Kelly Butler). For the current eye-tracking stage, I am lucky to be working with Dr Kate Gee from the School of Psychology, Politics and Sociology (http://www.canterbury.ac.uk/social-and-applied-sciences/psychology-politics-and-sociology/staff/Profile.aspx?staff=70c3f8a79070ef2a). This fourth stage has a life of its own, and will, we hope, yield many results directly useful in music learning and teaching in the future. The four stages are listed here briefly, with outputs from each one so far. There are further conference papers in the pipeline, which are at the proposal stage, awaiting acceptance.
Stage 4: Eye-tracking project The eye-tracking project is data-rich (n=~60), and can be framed and broadened to three different areas: interaction of visual and aural stimuli when perceiving structure; perception of structure as creative process; and the way eye-tracking can be used to interrogate structural decision-making processes. Forthcoming conference papers (so far):
- ‘Silent score reading with and without audio: an eye-tracking and self-report study’. International Conference on Multimodal Experience of Music, Sheffield, 23-24 March 2015 (https://www.sheffield.ac.uk/music/research/mmm/icmem)
Stage 3: Dynamic structure pilot This is, in effect, a pilot for Stage 4 (n=26), without the eye-tracking element, concentrating on the differences between seen and heard features and performance cues. Conference papers given:
- ‘Understanding structure as process’ Music and/as Process 2nd Annual Conference, Canterbury, 29 May-1 June 2014 (http://musicandasprocess.org/)
This paper has been accepted as a chapter in the forthcoming Music and/as Process edited book.
- ‘Performative and structural affordance in das Buch der Hängenden Gärten‘. Schoenberg at 140: Legacy and Reminiscence, Canterbury, 13-14 September 2014 (http://www.canterbury.ac.uk/arts-and-humanities/music-and-performing-arts/research/schoenberg-at-140.aspx)
Stage 2: Analysis history Conference papers given (so far):
- ‘Comparing the shape of analytical and performative understandings of musical structure’. Music and Shape. IMR, London, 12-14 July 2012. (http://music.sas.ac.uk/sites/default/files/files/Music%20and%20Shape%20Conference%20Delegate%20Programme.pdf
Stage 1: Performance case study This was the first stage of the project, and the singer who so generously agreed to be studied learning two Schoenberg songs over two months needs to be thanked (whose pseudonym is “Elle” throughout the project). The primary inspiration for this project was not only the empirical research but also Elle’s needs as a performer—she wanted to learn more atonal music—and it was very easy to work with such an understanding and keen participant.
- ‘An ecological approach to score-familiarity: representing a performer’s developing relationship with her score’. ICMPC/ESCOM, Thessaloniki, 23-28 July 2012 (http://icmpc-escom2012.web.auth.gr/) link to summary paper here: http://icmpc-escom2012.web.auth.gr/sites/default/files/papers/410_Proc.pdf.
Canterbury Scratch Orchestra Perform music from Soft machine, John Stevens, Cornelius Cardew and Aphex Twin
Facelift by Hugh Hopper from the album Third by Soft Machine (1970)
One-Two by John Stevens (1985)
Unintended Piano Music by Cornelius Cardew (1970 or 1971)
Flim by Aphex Twin from the album Come to Daddy (1997)
St Gregory’s Centre for Music
Canterbury Christ Church University
North Holmes Road
This event is open to the public.