Postpartum Blues

By Dan Visconti
Every time I finish a composition I can’t help but feel a little bit let down, no matter how the piece itself turned out.

Sonic Origami

By Dan Visconti
Origami succeeds in representing at least one aspect of music composition that both painting and sculpting analogies fail to capture: a sense that our materials by and large are already there, hovering in the ether of both history and current cultural zeitgeist, ready to be received by the composer and modified into a (not entirely) new work that might find itself raw material for more new works down the road.

When to Walk Away

By Dan Visconti
There really are times when just walking away (for a while, at least) can be one of the composer’s best options.

Solving Someone Else’s Puzzle

By Dan Visconti
I’ve been discussing a future collaboration with a massed string group drawn from students of various experience levels, placing technically adept players alongside absolute beginners.

Beginner’s Burden

By Dan Visconti

I think the thing I enjoy most about studying music is the way that minor mysteries of ignorance have a habit of giving way to deeper, more substantive mysteries.

Getting the Priorities Straight

By Dan Visconti

In my own composing efforts as well I’ve found it useful to consider my musical priorities which, if lacking, would cause the whole effort to cease being worthwhile.

Compose for Youth Orchestras!

I count my experiences composing for youth orchestras to be among those that best prepared me for making the transition from student to young professional.

Form and Process

Since all music occupies time, it is certainly fair and useful to regard that block of time post facto, in its entirety, and consider the ways in which that duration is divided and proportioned.

Time to Change

Why haven’t more American orchestras experimented with changing up their concert times to reflect the needs of those potential audience members to whom they so urgently need to cater?