Explore poetry’s relationship with music to push your work into fresh and unexpected directions.
Do you write to music, with music, or even against it? Does it make us more honest? Playful? Serious? Brian Eno wrote that modern art is “the sound of things going out of control, of a medium pushing to its limits and breaking apart”. For Mozart, music was to be found “not in the notes but in the silence inbetween”; John Coltrane sought to reveal “the divine in a musical language that transcends words”. If poetry articulates that which is hardest to say, how does its interaction with music impact the mood, structure and content of our work? Through a combination of reading, writing and listening we will explore music’s capacity to take us in fresh and unexpected directions.
Thursday 18th July, 2–4.30pm.
All classes will be in our offices at 1 Dock Offices, Surrey Quays Road, Canada Water, SE16 2XU. The venue is a 2-minute walk from Canada Water Station. Take the ‘Lower Road’ exit from the station onto Surrey Quays Road, then walk straight ahead, crossing over Deal Porters Way, and the Dock Offices come up on the left. The door for the school is at the far end of the building.
More information about how all our face-to-face courses work can be found on the Face-to-Face courses page.
About Karen McCarthy Woolf View Profile
Karen McCarthy-Woolf’s collection An Aviary of Small Birds is described as an “extraordinarily moving and technically flawless” (The Poetry Review) “pitch perfect’ début” (The Guardian). She also writes for radio and recent credits include Night Shift, a reworking of Homer’s Odyssey for Radio 4’s ‘Book of the Week’; Miss Birdie’s Letter, a music/poetry travelogue for Radio 3’s ‘Between the Ears’; and a collaborative adaptation of Virginia Woolf’s Orlando which was a BBC Drama of the Week. Interdisciplinary approaches are at the heart of Karen’s practice and she has worked with choreographers, dancers, and electronica producers, and made poetry as installation and film
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