About UreMusic
Kevin Ure. Composer, teacher, former university professor.
UreMusic is one person. I write the courses, record the audio, and answer the email.
I taught music theory at the university level for eight years. The courses here are what I couldn't fit into a classroom: audiation, the inner ear, and a way of learning composition that works away from the piano.
The story below is the honest version. What I tried, what failed, and what finally worked.
I’ve been fortunate to connect with thoughtful mentors and colleagues who have helped me develop as a composer and instructor.
Composers often think they must study more theory, counterpoint, or ear training to reach the next level.
It’s how you learn and apply the techniques that matter. You can be an expert theorist, possess a perfect ear, and master the art of counterpoint but still have no idea how to apply these concepts to your music.
My approach to teaching composition is not commonly taught in any school. And, unlike most composers, I consider myself a teacher first, which makes my students my highest priority.
Like many composers, I felt the pull to write music from an early age. As a child, I would stare longingly at our family piano, knowing a new world was within those keys.
I once asked my mother at a drive-thru bank teller why there was Christmas music yet no music for Halloween. Broad musical questions like these continued throughout my life but became more sophisticated as my abilities grew.
During college, I continued my quest to put those mysterious sounds and impressions of musical ideas onto paper while also developing my musicianship skills by playing for more than six ensembles as a student. I devoured everything I could but failed to write the music I wanted to compose.
I couldn’t find the answers I was looking for.
Completing a bachelor’s and a master’s degree in music composition helped me think differently about music, but I was still only learning the techniques of other composers.
As a graduate student, I started writing my first book, The Elements of Music Composition. The book introduced a flexible composition method that helped composers see greater connections in music.
While writing and conducting research for the book, I thought about my high school and undergraduate years. I remembered scouring through every text I could on musicianship and ear training. I worked through programs of study to train my ear, but none worked to train the faculties that a composer needs.
I started to create my own programs. While drinking coffee one day, a friend asked me why I created these programs. I told her it would save time and make it possible to compose more freely away from a piano or notation program. I also wanted to create a program that would benefit others — something that actually worked.
As I finished my master’s program, I was writing music fluidly; but unexpectedly, I suddenly lost all motivation to compose.
I fulfilled my lifelong desire to compose, and I lost the spark. The reason was simple. I learned how to create and hear music in my mind, but it lacked the perfection of greater composers. I realized technique was only half the battle, and I felt strongly that I had to reinvent myself before I could write again.
I went through a decade-long process of study and introspection. I felt I lacked music theory training. I felt my music would become deeper and more meaningful if I increased my knowledge.
Music theory wasn’t the answer.
I kept searching. I wrote my second book, Music Composition Technique Builder, which teaches composers to develop their inner ear using methods that worked for me and my private students. I never stopped teaching composers as I continued my search for greater meaning and connection in my music.
University teaching taught me something important: more knowledge of music theory does not substantially improve a composer’s ability. I should know, I’m a composer who taught all levels of theory from the undergraduate to doctoral levels.
Through my teaching, I discovered my true passion lies in teaching composers to write better music.
One of my role models is Nadia Boulanger, who taught some of the leading composers of the 20th century but was lesser known for her own compositions. I've always respected her ability to teach composers how to compose in unique and personal styles.
While I learned that theory was not the panacea, I also discovered how to help composers write better music.
The Composing Hour Masterclass Series is very different and separate from my role in the university, and the course content is unique and not something that would fit well into a university program. I aim to help you benefit from the decades I spent searching for techniques to develop your craft.
I will help you create your own flexible and intuitive theory of composition that will change with each new piece you encounter, and you will never stop improving as a composer.
In short, you will start the process of becoming your own best instructor, and you will be able to train yourself and develop music that is authentically you.
I taught music theory for eight years as a university professor. Over 70 courses and more than 1,000 students, from freshman theory through the doctoral level.
The courses on this site came out of that work. I built over 2,000 audio files to train my own ear, then rebuilt the method for students who struggled the way I did.
The full record is in the CV. Degrees, appointments, publications. No surprises.