The latest version is available in four editions: Pro, Elements, SE and, iPad. A new interfaceÄorico hit the shelves in 2016, promising a user experience that matched the way people write music, rather than expecting us to adapt our workflow to the software. Modern commercial composers, whether they work electronically, acoustically, or most frequently, a hybrid of the two, can produce a score in a matter of days. Having commissioned dozens of scores during this time, the thing that impressed me most was the turnaround time from brief to delivery. Prior to retraining as a teacher, I spent several years working in film and TV production. I was really excited to see a rescoped and reimagined Dorico 4 hit the shelves at the start of the year and was keen to see how this new version sits with my workflow. Does the way we deliver composition tuition at secondary and tertiary levels set students up for the realities of working as composers in the 21st century? Reviewing the potential list of available options set me thinking about the space between how composition is delivered in the commercial environment and how we go about teaching it. A student recently approached me to ask for advice about potential film composition courses.
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