Dyad is that rare musical game that owes nothing to the stagnant glut of Guitar Hero and Rock Band knock-offs—a new and decidedly high-octane way to interact with our senses, both high-tech and deeply expressive of the user experience.
Washington, D.C. isn’t noted for its plethora of new music-related events, so it is fitting that an exhaustive exploration of one of American music’s most cherished figures will be taking place just where a healthy injection of funny-smart-weird Cageian goodness is most needed.
ToneCraft—a musical toolkit that takes advantage of Web Audio API as a workspace for free composition—provides a fantastic metaphor for introducing unwitting normal people to the zany world of composing, albeit one that is far too limited for anything beyond some rudimentary dabbling.
It’s pretty geeky to write, think, or read about fonts. But if you’re composing notated music, trust me, paying attention to fonts won’t make you any more of a geek than you already are—and you’ll likely reap some great benefits as a result.
Following my recent open letter to new music performers, I thought it might be worth turning a critical eye on composerly habits that can grate on others and stunt personal growth.
It is a composer’s prerogative to seek out new stimuli and accept new challenges in order to ward against stagnation. But there are also external forces which conspire to define composers and lump their work into handy pigeonholes.
Here’s why it’s so important for ensembles to make sure they keep living composers apprised of performances of their own works: performances are as much the bread and butter of a composer’s career as the performer who actually brings the new work to life onstage.
It might be more accurate to consider Journey as a musical composition with interactive video element, rather than as a barely challenging game with a fantastic and lovingly created underscore.
When I think about the variety of musical instruments among the world’s cultures, I can’t help but notice how one universal driving force behind the evolution of new musical technology has always been the search for louder sounds.
The determination that a given piece of music is “finished” resides in the eye of the beholder, and it’s interesting to consider the varying levels of “doneness” deemed acceptable by composers of the past and present.