I’m a terrible activist. I make art instead. Perhaps that is the best way for me to make an impact.
An investigation into what stylistic pluralism is in music.
Ryan Carraher just finished a new work for solo tenor trombone entitled Alazia. "I figured I would share some thoughts and formal processes I had during the composition process."
P.M. Joyce's work "Fairytale" is a well-polished work that would work well in a film score.
Firmly rooted in the American Mavericks tradition, this work fuses hymns with polytonality and misalignment, a la Charles Ives.
Scott Blasco's work "Queen of Heaven" is a devotional-type meditation for piano and electronics.
Reilly Spitzfaden's work Resonances is an interesting exploration of instrumental tone and gesture, a cat-and-mouse game of imitation.
Mitch Weakley's piece "Keys, Strings, Clothespins" investigates a C pentatonic scale with a flattened sixth step (Ab) through the lens of a prepared piano, and its consequent timbres.
Matthew Kennedy's "Until I Say 'When'" is a breathtaking exposure of space, timbre, and mood, that is both playful and hypnotic.
"STRING II was made with “real” sounds - sounds that I recorded both in my studio and in the field. I used only the oddest bits of these recordings to go ahead and represent something else. Something that EVERYONE hears differently - its interpretation is up for grabs. I feel that’s important."
Dale Osterman's piece Ouroboros depicts the serpent that devours its own tail. #analysis #contemporaryclassical
There are times when musical notation simply does not suffice to both technically manifest, nor artistically describe, the music that is heard. This is the case with Diogo Carvalho's piece Reveal.
In this blog, I have repeatedly asked the questions "what does this mean?", "what is the point?", and "what can we learn from this?" In truth, sometimes nothing means anything, there is no point, and we can't learn from anything. While these are philosophical points that have their own arguments, I would like to discuss …
David T. Bridges's work This Fragmented Old Man fuses the energy of Elliott Carter, the rhythmic drive of Bela Bartok, and the harmonic fluidity of Igor Stravinsky to create an energetic, wild, slightly senile, and charming work based on the children's counting song "This Old Man"
Chad Powers's work "A Blade Within" has simple program notes: "A Blade Within is constructed with raw, as well as manipulated sound sources. Before the work was composed electronically I notated it on paper. In a meta fashion, I used the recorded pencil and paper sound files to act as a catalyst to drive the …
Brianna Drevlow's piece "David's Run" is a soundscape-turned-nightmare, depicting a recurring dream she has: "Named after the Operation Lifesaver film I watched as a young child about train safety, “David’s Run” depicts a recurring nightmare I experience where I am being hit by a slow moving train, but I wake up before impact. This piece …