<p>Just to play devil’s advocate here: I think there are quite a few young people who begin composing during or even toward the end of high school, with little experience before that, and some of them are quite talented- and successful. In fact, some quite well-known composers started after college.</p>
<p>Some young composers don’t benefit from a regular, frequent session with a teacher, mainly because composition, in some ways, cannot be taught. Others thrive with weekly lessons. Lots of different strokes. ( I know my own daughter would see her teacher every 4 weeks or so, or when she had gotten to the point in a composition where she was stuck or wanted to bounce something off someone, but didn’t want a teacher while she was actively working on a piece). But it is a good idea to have a mentor at some point, if the daughter is seriously interested in composing.</p>
<p>I have heard that top conservatories are often looking for raw talent, an authentic and individual voice or vision, and not necessarily polish.There do seem to be more young composers around every year, so perhaps that is changing.</p>
<p>I don’t think composing should be professionalized, so to speak, early in the game. Like other creative endeavors, it should be engrossing and fun, like play, at least in the beginning. I think the original poster and daughter can basically relax and enjoy.</p>
<p>It’s very cool to have music played by real musicians. I would concentrate on that, whether through a camp or by finding local musicians who will either help out by playing a piece or charge very little. Or even a school ensemble.</p>
<p>And college for twins, it is wonderful that your daughter is involved in music in so many ways!</p>
<p>Although compmom and I agree 99% of the time (and adore each other!) - I do think that for the ‘top’ programs, one’s resume and portfolio will make a significant difference. I know that for places like Bard & Curtis - it’s a pretty rare bird who gets through pre-screening without extensive past composition experience. For larger programs it’s different - and they have more room to take a chance and bring a young student up to speed - in fact they often expect to teach the fundamentals the first few years.</p>
<p>I think colleges may care more about the resume, and conservatories, including top ones like Juilliard etc., care more about the portfolio. In other words, colleges look more at the whole person, and the conservatories really focus on the music itself. This is, of course, a broad generalization.</p>
<p>It is possible for a young person to start composing late in the game, have no awards or programs, and be very competitive if the music shows talent that can be developed.</p>
<p>This situation may be sort of an outlier, but I always like people to have hope, and I also want people to know that your child does not have to be a prodigy to be in these programs. I don’t want anyone to feel discouraged by reading about early achievement, because that is only one of many scenarios for success in composition.</p>
<p>At the same time, for a sophomore, it is not a bad idea to get music played by musicians and enter a piece in some competition, starting perhaps with the state Music Teachers’ Association. Especially if a student wants to go to a college for music. That is a fairly low stress way to start to “play the game”. Then see what happens.</p>
<p>And yes, I adore Spirit Manager and follow her amazing son’s progress (and music) closely!</p>
<p>Because very few high schools, even ones focused on the performing arts, have composition programs that provide a one on one atmosphere, I am a great fan of private composition study. This can be within or outside of a university setting. If you live near a conservatory that has an established pre-college composition program that is one venue. Another would be lessons with a composition professor within a school of music. Also possible is a teacher unconnected to either conservatory or school of music. BUT private study should only be undertaken if the student is willing to spend the many hours of work required for each lesson. It could be as much as 20 or so hours a week depending on the teacher. If the student is unable or unwilling to meet the teachers requirements, private lessons with this teacher will not nurture. Rather, they could hinder the creative composition effort by making it a chore. So both the parent and the student must understand the demands and be open to fulfilling them.</p>
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<p>The value, where available or economically accessible, is the student having the opportunity to hone the craft and work with like peers.</p>
<p>Honing the craft, of course, relates to admission to college or conservatory programs. But where possible, these opportunities for synergy can do more than you can imagine for a student’s development. So it’s not so much the destination as the journey ;)</p>
<p>And with respect to recommendations, while you might not feel comfortable asking someone who’s only worked a few weeks with a student, you might also find that some offer, and that after even a mere week, a good prof can hear and see and intuit a student fit for music school pursuit.
(Happened to my son; and he gratefully accepted the offer for what was a beautiful and incisive letter of recommendation;)</p>
<p>One other advantage to summer programs/festivals is the chance to network. Networking is an essential skill for a successful composer today - both with musicians, audience (future patrons?), professors, presentors, and other composers. A number of the composers whose work has been requested by my son’s ensemble for performance came from connections first made through summer programs.</p>
<p>I’d like to make my first contribution to this very useful community.</p>
<p>Our offspring attended the CIM summer program for two summers. They were different each time but just as valuable. Although short (one week), it provided several experiences: (a) A community of like minded kids: Does your kid have anyone who they can talk to about the harmonic details of a symphonic work? 12 tone rows? Probably not. This small community does. (b) A recording: The final output is a recording of a small chamber work. The student will positively need this in the future for applications to other programs, prizes and even (dare we say it?) college admissions.</p>
<p>In order to take full advantage of this program your offspring should be studying composition since this provides the fundamentals (the program will not!). The student abilities are all over the map, as are the compositions. Some are tonal, some are atonal. But the friendships and the connections that are maintained through email and facebook.</p>
<p>Yes, it’s short (I think they may be making it longer this year), but it’s a very valuable program. And quasi-affordable!</p>
<p>Welcome to The Servant. Always nice to see more composition parents on here! Hope to see more of your posts in the days ahead.</p>
<p>Has anyone heard back from Oberlin re: Summer Sonic Arts and Composition Workshop admissions? My son applied for both camps but hasn’t heard anything yet.</p>
<p>My daughter applied for the Sonic Arts program and we have not heard anything yet.</p>
<p>Thanks wundone1. That makes me feel a little better. Sonic Arts and Michigan’s Mpulse Performing Arts Technology camp are high on my son’s list and we are waiting on word from both of them.</p>