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Opus Events
Live Performances of Student Compositions
 
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Opus 24, May 2, 2012

Opus 23, December 5, 2011

Flash Files:

Opus 22, April 28, 2011

Opus 21, December 6, 2010

Opus 20, April 28, 2010

Opus 19, December 7, 2009

Opus 18, April 29, 2009

Opus 17, December 2, 2008

Opus 16, April 30, 2008

Opus 15, November 27, 2007

Scores:

Opus 22, April 28, 2011

Opus 21, December 6, 2010

Opus 20, April 28, 2010

Opus 19, December 7, 2009

Opus 18, April 29, 2009

Opus 17, December 2, 2008

Opus 16,
April 30, 2008

Opus 15, November 27, 2007

Opus 14, November 28th, 2006

Opus 13, April 10th, 2006

Opus 12, November 15th, 2005

Opus 11, May 17, 2005

Opus 10, November 2004

Opus 9, April 2004

Opus 8, November 2003

Opus 7, May 2003

Purchase CD/DVD's
of Opus Performances

As the first notes of The Fox's Tale, a string quartet by 5th graders from Clarendon Elementary School were heard at Opus 1 in April 2000, project members were reminded that real instruments breathe life into music compositions. The computer teamed with music software becomes a terrific tool that enables students to write and edit their musical ideas, but hearing professional performers play the works elicits beaming faces from the young composers, parents, and teachers in the audience.

Opus 1 featured a string quartet from the National Symphony Orchestra while on their annual states tour. The NSO requested proposals from Vermonters for ideas about how they might utilize the instrumentalists during the one-week residency. A proposal written by the Vermont MIDI Project coordinator garnered interest and several NSO members eagerly volunteered for the event.

Following Opus 1, several changes were instituted for subsequent events. Each student or team of composers receives a rehearsal time with the ensemble on the day of the event. More attention is devoted to final score preparation and software that would easily extract parts and include all necessary markings for a live performance was recommended. Resources were gathered to guide students as they wrote for real instruments.

It's difficult to adequately write about the excitement and learning that take place throughout the process of submitting a composition for live performance. The flurry of activity on the password protected website during the Opus selection process always requires that we hire composer mentors for additional time. The rehearsal time demonstrates the keen knowledge each student has of their work. One mentor commented: "The student becomes the center of attention in the performance preparation and all performers look to the student for instruction on how to perform the score. This gives the student a real sense of power over his/her creation. It is perhaps the first time that a student has been asked by an adult for direction."


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