As a group dedicated to exploring “perceptible wave energies” through light and sound, Pulsa created art and music that not only made group collaborations audible and palpable, but they also reminded their audiences and participants—through light and sound—that actions have effects.
I met Ursula Mamlok when she was in her early 70s, and initially I didn’t know how to define her. Who was she? Coming from Colombia, where I had only heard about one other woman composer of classical music before me, I didn’t realize—in all its dimensions—what it would mean for me to study with her. It took me a long time to realize the levels of her strength.
Creation is messy. Artistic inspiration without the mess (and an incredible amount of work and planning) will never see the light of day. Our finished work is only as good as it is because of the untidy part. Art needs us to bravely embrace our inner slob, even though most of us prefer a little primping before going outside.
If you think hard enough about new music and how it makes its way in our present society, there are striking similarities to the fictional wizarding community that J. K. Rowling has so elaborately depicted in her Harry Potter narratives.
Daniel Spreadbury talks about his work in open source and web standards, some of Dorico’s most exciting features for composers, and how Dorico users will benefit from the larger Steinberg ecosystem.
In my opinion, the most exciting new music being composed and performed in East Asia is for traditional Asian instruments. I’m particularly intrigued by the new music people are writing for Chinese instruments. The best works engage with these instruments’ cultural associations as well as contemporary thinking.
Community is not one of the words typically included in descriptions of minimalism. Indeed, more often than community, minimalism had to do with conflict. But eventual authorial disputes were the result of a long series of close collaborative engagements.
The winning works by nine young composers, ages 15 to 27, include music for orchestra and wind ensemble as well as solo and chamber pieces plus compositions involving electronics.
Professionally, I identify as both composer and songwriter. I don’t have to choose, do I? I can have both, yes? What is the difference between songwriting and composing anyway? When does a songwriter call herself a composer, or the other way around?
From ancient stone idiophones to singing kites, Cambodian traditional music offers tons of fascinating possibilities for contemporary composers. But the music is no longer developing and now more closely resembles a museum rather than a living art. Chinary Ung hopes to change that through several initiatives he has organized there.