Classical0:36১টি শীট ব্রাউজ করুন
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Zen Virtual Piano-তে Edewede Oriwoh-এর পিয়ানো শীট দেখুন। In her own words, Oriwoh has no formal knowledge of music theory, and a software application let her represent her musical ideas. She sang in a church choir from a very young age, began composing early and only tried to write her pieces down in 2014. Her first works set the words of Responsorial Psalms for use at some Sunday Masses. A composer without formal theory who turned to software to notate her ideas suggests that her path was built from practice in church and from tools she found for herself, rather than from a conservatory route. She is a composer from Edo state, Nigeria, whose later works include tunes for parts of the Mass, several hymns and instrumental pieces, although most of what she writes is choral. She writes mainly liturgical music, hymns, solos, duets, anthems and instrumentals. She has composed choral works in several languages, among them Latin, English, Hausa and Esan, and the works have been performed in Italy, Great Britain, the United States and Nigeria. Settings in Latin, English and two Nigerian languages hint at a composer who moves between church tradition and her own cultural background, writing for communities that use each language. Her short piece Play was performed by the Ensemble Chaminade in December 2018. Marina Giovannini arranged it for piano and wind quartet, and the arrangement is among the pieces selected for a CD of works by women composers from around the world, The Other Half of Music. The Compendium Musicae Flauta includes her flute pieces, and several of her Christmas works have recently been played in both the United States and the United Kingdom. A piece that others arranged, recorded and catalogued suggests that her music has travelled through the work of other musicians as well as her own, and has reached audiences beyond her usual circle. She wondered why African composers seemed absent, and as an African who personally knows some of them and knows of institutions across Africa that regularly graduate composers, she found the absence striking. She created the website AfricanComposers.com, which dates to 2018 as the African Composers Database, and she manages the African Composers Facebook page. Her ambition is to organise a competition to encourage and support lesser-known African composers and to reach and mentor aspiring ones through social media. Awards that came her way include the Panache Global Entertainment Award, for outstanding achievement in music and community development, and C.Hub magazine's award for best composer and music arranger. A database, a social media page and a planned competition hint at a composer who treats helping other African composers find an audience as part of her work, which may reflect the absence she noticed.
Zen Virtual Piano-তে Edewede Oriwoh-এর পিয়ানো শীট দেখুন।
In her own words, Oriwoh has no formal knowledge of music theory, and a software application let her represent her musical ideas. She sang in a church choir from a very young age, began composing early and only tried to write her pieces down in 2014. Her first works set the words of Responsorial Psalms for use at some Sunday Masses. A composer without formal theory who turned to software to notate her ideas suggests that her path was built from practice in church and from tools she found for herself, rather than from a conservatory route.
She is a composer from Edo state, Nigeria, whose later works include tunes for parts of the Mass, several hymns and instrumental pieces, although most of what she writes is choral. She writes mainly liturgical music, hymns, solos, duets, anthems and instrumentals. She has composed choral works in several languages, among them Latin, English, Hausa and Esan, and the works have been performed in Italy, Great Britain, the United States and Nigeria. Settings in Latin, English and two Nigerian languages hint at a composer who moves between church tradition and her own cultural background, writing for communities that use each language.
Her short piece Play was performed by the Ensemble Chaminade in December 2018. Marina Giovannini arranged it for piano and wind quartet, and the arrangement is among the pieces selected for a CD of works by women composers from around the world, The Other Half of Music. The Compendium Musicae Flauta includes her flute pieces, and several of her Christmas works have recently been played in both the United States and the United Kingdom. A piece that others arranged, recorded and catalogued suggests that her music has travelled through the work of other musicians as well as her own, and has reached audiences beyond her usual circle.
She wondered why African composers seemed absent, and as an African who personally knows some of them and knows of institutions across Africa that regularly graduate composers, she found the absence striking. She created the website AfricanComposers.com, which dates to 2018 as the African Composers Database, and she manages the African Composers Facebook page. Her ambition is to organise a competition to encourage and support lesser-known African composers and to reach and mentor aspiring ones through social media. Awards that came her way include the Panache Global Entertainment Award, for outstanding achievement in music and community development, and C.Hub magazine's award for best composer and music arranger. A database, a social media page and a planned competition hint at a composer who treats helping other African composers find an audience as part of her work, which may reflect the absence she noticed.
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