Tag Archives: music degree

What I Should Be Doing: An Interview with Music Alumnus Brennan Stokes

By Becky St. Clair

Brennan Stokes graduated from Pacific Union College in 2013 with a degree in piano performance. Having discovered a love for composition while studying with Professor Asher Raboy in the department of music, Stokes chose to continue his education at San Francisco Conservatory of Music, graduating in 2019 with a Master’s of Music in composition. Today he maintains a teaching studio in San Francisco’s Sunset District, passing on his love of music to the next generation of pianists. 

36636114_10156071716806281_3948195480516689920_n

 

 

 

 

 

 

 

How did you discover your love for music?

My parents are both musically inclined; they both sang in the church choir, Mom took piano lessons as a kid, and Dad plays the trumpet. They started me in piano lessons when I was in kindergarten, but there was always music in our house. I just took it and ran with it.

How did you settle on the piano?

It was the first instrument I learned, and it was a match from the start. I really liked it, and according to my teachers, I showed some promise for it, so I kept playing. Piano just made sense to me. 

How did composing become part of your musical life?

I always assumed I was going to be on one side of the page. I knew I was going to learn it, research it, analyze it, but I never considered creating it myself. When I found out I had to take a composition class for my degree, I wasn’t sure how it was going to go, but after our first assignment I realized how magical this process is and I fell in love with it. I continued to take classes with Professor Raboy even after the requirements were done. Creating new music was incredibly exciting for me. 

Tell us about your studio.

I teach 30-35 students a week, all between the ages of 5 and 13. My schedule is very flexible; since most kids are in school, I am relatively free during the day. I start teaching around 3 p.m. three days a week and teach until 8 p.m. I enjoy what I do. I consider myself very fortunate to be working in my field, teaching young musicians.

When you’re not teaching kids to create music, you create music yourself. Describe your approach to practicing.

Really, it starts slow. Paying attention to fingerings becomes essential; training my hands to do smaller tasks automatically. Then I focus on rhythm, hand by hand, figuring out what each part of the piece sounds like, then I put it all together. A valuable tool Dr. Wheeler gave me is reverse practice. If you only ever start your practice at the beginning of a piece, that’s always going to be the strong part. But if you start at the end, which is often the hardest part, you ensure the end is also strong. Then you feel even more comfortable with the piece. 

What is the difference between hearing a piece and playing it?

It’s a totally different experience to hear a piece than it is to see what the hands have to do to make the piece happen. You may feel like you know a piece after listening to it multiple times, but when you sit down to actually play it, you realize there are little rhythmic or harmonic nuances you didn’t realize were there. For example, the harmonies in some Chopin and Rachmaninoff pieces are super crunchy. It sounds like you’re playing something wrong and you check the notes three times, but that’s really what it is. You learn it, and suddenly it’s not crunchy anymore; it works. 

Aside from providing a way to make a living, how has studying music contributed positively to your life?

The last several years I’ve been getting into poetry and it has turned into a cycle of self-enrichment. I read poetry and feel like it was meant to be an art song, so I create some vocal music to go with the poem. Also, music allows me to meet really incredible people from all over the world. Music is the most universal thing; it doesn’t matter where you come from or what language you speak, you can bond over music. I love how it brings people together.

Who is your favorite composer to play, and why?

I’d say Chopin and this relatively new 20th century English composer named York Bowen. Chopin changed the game for solo piano. Yes, it’s technical, but once you get it in the fingers, it becomes so fluid and so natural. There’s playfulness, there’s sadness, and the composer’s intentions are really clear. Bowen utilizes really rich harmonies and has a bit of a jazzier feeling. I don’t think he’s well known but he’s written a ton of music; in particular, his preludes and ballads feel really nice to play.

Who is your favorite composer to listen to, and why?

There are two to whom I constantly return: Ravel and Beethoven. I have yet to encounter a piece by Ravel I’m not stunned by. He was a wizard of music and his chamber and orchestra music is stunning. Every instrument’s shape and technique is magic because he thought about more than the obvious ways to use the instrument. He utilizes every aspect of shading to get different tone colors and sounds.

Beethoven takes his time with his surprises. What he did to change musical form is a reminder that if you feel like doing something, you can. He’ll pull a fortissimo out of nowhere or move through his harmonies in an unexpected way. His sonatas are really rich; one movement is fiery and passionate then another is lyrical and serene. It’s incredible to realize you don’t always have to do the same thing all the time. He reminds me to come back to things that are good and innovate. I’m still looking back to these masters and finding ways to influence my music-making process. 

What is something you want to improve about your musicianship, and what are you currently doing to move in that direction?

Right now, rhythms and the finer points of notating what I want, maintaining my ear to get the intricate harmonies I love. I constantly have to work at how I put the complicated pieces together in the way I want them. During my first year of grad school, I took a musicianship class, and it was insane but incredible. Walking out of that class, my ear was so much sharper than it had been walking in. I still use techniques from that class to keep track of what has happened in a piece and what I’m doing next. 

What is the highlight of your career thus far?

Definitely my first composition recital in November 2017—the first time I heard one of my pieces performed. I had composed two songs for mezzo soprano, violin, cello, and piano, and I was terrified. I’m so used to being in the driver’s seat, and it was terrifying to be the composer just sitting in the audience watching four other people do my music and having zero control over what happened.

It was an immense learning curve handing my music over to other musicians; what I think works initially may not actually work after a second pair of eyes looks it over, especially when I’m composing for instruments that are not my primary. I also learned that how performers interpret music is also a part of the creative process.

A lot of people came up to me afterward and said it was amazing. It was a moment when all of my fears of not being good enough vanished. To be positively received by an audience was wonderful, but for my music to be positively received by the musicians playing it was even better. It was confirmation I was doing what I should be doing.

53341341_10156945202839178_3558854977147371520_o

If you could change one thing about society’s perception of classical music, what would it be?

I wish more people understood if you have the context of 20th century music, it will make more sense. The 20th century saw a lot of horrible things happen, and that’s reflected in dissonant 20th century music. It’s not necessarily pretty to listen to, but if you understand what they’re trying to say you don’t necessarily disagree with it. It takes a moment to transcend what you’re hearing and realize what the composer is saying; for example, a minor key with shrieking strings can express how a Polish composer feels about the Holocaust. If you understand what it is they were experiencing or reacting to, it contextualizes their voice and makes the music more accessible. 

How do you deal with performance anxiety?

I read a book on performance anxiety and the author said if you don’t get nervous, if you don’t feel anxious or get a boost in energy (whether positive or negative) before a performance, it’s apathy. You don’t really care. If you’re nervous before you perform, it means you want to do a good job and perform to the best of your ability to make sure what you put out there is wonderful. That really changed my way of thinking. I’ve learned to recognize what happens to me and where my nervousness affects me the most, then find a way to adjust. I try to fully relax my body and tell myself I’m going to give a wonderful performance. I reassure myself I’ve practiced, I’m ready, and I’m a good enough musician to find my way through the performance. This is music and music is fun, and sharing it with others should be enjoyable. That nervous feeling just means I’m doing the right thing. I’m doing something that matters to me. And that’s how it should be. 

 

Academic Spotlight: Music

The world is listening. Find energy and passion in new opportunities and challenges as you develop your artistic, technological, and entrepreneurial skills to make profound contributions to the future of music.

The department of music at PUC gives students a place to better understand, appreciate, and perform music while preparing them to use their talents in the professional world. Take courses from knowledgeable faculty who have toured the world and performed in places like Carnegie Hall, and discover how you can start your career in music under their expert guidance.

Programs offered:

  • A.S. in Music
  • B.S. in Music
  • B.S. in Music: Composition Emphasis
  • B.S. in Music: K-12 Teacher Training Emphasis
  • B.S. in Music: Performance Emphasis

A Student’s Perspective

“Being involved in a music ensemble relaxes me. It allows me to step outside of the daily struggles and focus on something I love, and I love that a lot of it is worship music. It’s an escape, it’s worship, and both are really valuable.” — Kayley Wilson, music major

Fast Facts

  1. Fully Accredited The department of music is a member of the National Association of Schools of Music, and a member of Pi Kappa Lambda, the national honor society in music, through its Theta Zeta chapter.
  2. Ensemble Options Students can join ensembles on campus that include the symphonic wind ensemble, orchestra, and a touring choir.
  3. Collaborative Environment Music students have partnered with film students to produce original scores, utilizing the department’s composition studio.
  4. Prestigious Faculty Music faculty have impressive resumes, including working as assistant director and concertmaster of the New England Symphonic Ensemble and music director of the Napa Valley Symphony; and have toured Europe, the Middle East, South Africa, China, Southeast Asia, the United States, Canada, Mexico, the Caribbean, and performed in famous places like Carnegie Hall.
  5. Scholarships Available The $1,000 renewable Campus Impact Scholarship is for students participating in PUC orchestra, wind ensemble, iCantori, or Octet.

What You Can Do With This Major

While many graduates with music degrees work in the creative industry, they are by no means limited to that arena. There are many career paths you might be interested in.

  • Church music director
  • Conductor
  • Copyright administrator
  • Finance
  • Healthcare
  • Music librarian
  • Music producer
  • Music therapist
  • Music video producer
  • Solo/Symphonic performance
  • Sound technician
  • Teaching

Learn more about the department of music at puc.edu/academics. Our team of admissions counselors can answer any questions you have about PUC’s music programs, or the other majors the college offers. Call (800) 862-7080, option 2 or email admissions@puc.edu to get connected with a counselor now and start learning about all the options available to you!