Reverberations: The Poetry of Music (Masterclass)

Reverberations: The Poetry of Music (Masterclass)

Explore rhythm, form, and harmony in the wordless patterns of music as inspiration for new poems.

This course taps into the abstract-yet-moving energies of music to explore ways in which we can create poetry in response to the wordless patterns of music in different genres. We will work with music from different periods and places, exploring a range of rhythms, registers, and purposes.  

At the core of the course is an extended assignment, which will be set in the 4th session; taking its cue from Tchaikovsky’s Les Saisons – a solo piano piece for each month – this will consist of 12 sections that build up to create a substantial sequence of work. This extended piece could subsequently form the basis of a pamphlet or part of a more substantial collection of poetry.  

The course will reference a wide range of musical sources, and explore different ways of responding to them. Inspirational performances include Beethoven’s late string quartets, music by Catrin Finch and Seckou Keita, compositions for piano by Tchaikovsky, and collaborative improvisation by Ali Farka Touré and Toumani Diabaté. 

Masterclasses are an expanded version of our International courses, with a much deeper consideration of technical craft and critical theory. These 12 week courses (maximum 10 places) are for advanced students only, and fluency with poetic language and ideas will be assumed. There are no live chats and they are suitable for UK and International students.

More information about how all our online courses work can be found on the Online Courses page.

Image Credit: Marius Masalar

About Peter Hughes View Profile

Peter Hughes is a poet and the founding editor of Oystercatcher Press, currently based in Snowdonia, Wales. In 2016 he was the Judith E. Wilson Visiting Fellow in Poetry at the University of Cambridge. His many books include a Selected Poems (Shearsman, 2013), innovative versions of all Petrarch’s sonnets Quite Frankly (Reality Street Editions, 2015), Cavalcanty (Carcanet, 2017) and via Leopardi 21 (Equipage, 2018). 

‘This site is a wonderful place for poets to get together from all over the world. The UK is so lucky to have such a society. Australia is a poor place for the quality of tuition in poetry, despite all the writing Societies all over the different states we have here. I urge anyone who is interested to take part in this tremendous resource.’

– Summer 2019 survey response

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