Turning to music for comfort and solace is not a subject that is talked about much—not out loud, at any rate—in our community, even though it is a perfectly natural inclination, and something that many of us engage in regularly.
It is always a pleasure to encounter music that serves as a reminder of some basic creative ideas: that music is a physical thing, connected to the body and to breath; that simplicity is often the most satisfying option; that the present moment and all that it holds is important. All of these notions are present in composer Keeril Makan’s latest release on Mode Records, Afterglow.
For composer Andrew Norman, the process of composing feels like a tug-of-war between opposing forces. From start to finish, he is constantly questioning, and pushing back on his own ideas in his efforts to create meaningful musical experiences for performers and for audiences. He revels in the visceral experiences of music making, and thoughtfully challenges performers to bring their own ideas to the interpretation of his music.
I’m currently a bit obsessed with the upswing in available information related to creativity that has taken place over the past couple of years. Lately I feel as if the swell has become even larger, with a huge inflow of books and websites devoted to the why and how of creative process and creative thinking. I can’t help but wonder, why is all this material coming out now?
Composer Paul Rudy takes to heart the idea that “nature’s wisdom follows the path of least resistance.” Active listening and intuition play vital roles not only in his composing process, but also in his work as an educator and performer.
As a fond farewell to 2013, the intrepid New Music USA staff has chosen some of their favorite tracks from the past twelve months for this edition of the NewMusicBox Mix.
The three discs featured here all contain music in which computer interaction plays a prominent role alongside human performers.
For flutist and composer Jamie Baum, the formula for what she calls a “complete musician” consists of three parts: performing, composing, and improvising. In her mind, these three activities combine in an organic way to create a rich, full musical life, and she does it all—and more—in spades.
What on earth is going to happen to compositions that are painstakingly crafted for effective live performance at the time of their creation, but which become increasingly difficult to mount live, simply due to the march of time?
This week we round up three new recordings by large ensembles of various configurations.