What could a Hardanger fiddle player and a computer programmer possibly have in common? For Dan Trueman, an expert in both areas, it’s all just technology. And whether the eventual expression of his ideas requires old instruments or the invention of new ones, he is more concerned that the tools employed offer musicians the most engaging musical experience possible.
An award-winning traditional performer and educator in her native country of Vietnam, Vo has found a particular freedom in the myriad genres and styles of music that surround her here in America—an influence that has filtered into both her musical ideas and the instruments and techniques she uses to communicate them.
Fresh learning methods have opened up exciting possibilities when it comes to advancing music education and introducing new ears to new work, so this week (September 23-27) we’ve invited our regular contributors plus some special guests to each pick up a thread in this huge concept and tell us about a piece of this story that’s important to them.
When you visit Kenneth Kirschner’s über-minimalist single-page website, you get a clearer sense of how central the free distribution of his work is to him. No program notes are offered, no composer bio included. Just select a track and experience the music. “I think, being an experimental composer, it’s about encouraging a listener to take risks.”
Weekly composing homework? Yes, please. For anyone intrigued by the sonic ideas this type of exercise can generate, your spelunking down the Disquiet Junto rabbit hole is sure to be rewarded. Even for those who don’t want to wade in and create music themselves, with 88 projects already completed, the curious listener has a cavernous library to select from.