The Study of Counterpoint: From Johann Joseph Fux’s “Gradus Ad Parnassum”

This book could occupy all of your time if you wished. It is an essential read for every composer, containing the manual that nearly all great classical composers learned from. Contemporary composers still use it today both as a way to learn and a tool for teaching their students.

John Wiggins – String II

"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."

Chad Powers – A Blade Within

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 …

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Brianna Drevlow – David’s Run

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 …

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Heather Stebbins – minim

Heather Stebbins's work "minim" is a recollection and reimagination of sonic elements from prior works.  From her program notes: "minim (2014) is an exercise in excavation. I recently began going through old files and recordings from early projects and happily discovered that many of the sounds captivated me in both new and nostalgic ways. I felt …

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Brian Riordan – “The Moon Is Drifting Away from the Earth, Don’t Think About it”

Brian Riordan is a composer well-versed in an eclectic mix of styles, contexts, and media.  His piece "The Moon Is Drifting Away from the Earth, Don't Think About It" unifies his many influences.  In particular, the work fuses electronic and acoustic sound worlds and contexts in a unique way.  The overall effect is of the …

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Steven Maheu’s Elements of Creative Force – Part 5

Hi All, Here is another image from Steven Maheu's Elements of Creative Force.  This explains how different elements can be contrasting or complementary to one another. We use the relationships between each number and another number to define if the two numbers are contrasting, or complementary.  This only applies when using the same color.  (We …

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Aya SB – Coalescence

Aya Shimano-Bardai's notes in the abstract for the piece "Coalescence": "Coalescence (2016) is a seven minutes and thirty seconds long acousmatic stereo piece. The compositional structure delves into the transitions between contrasted sonic spaces – open and clustered, distant and close, sharp and mild, etc – by underlining its varied acoustic elements. Mainly based on …

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