The composer faces a future more uncertain than that of anyone, except perhaps the poet. When school days come to an end, the composer mortality rate—not to mention that of their all too perishable idealism—is close to 100 per cent. I am one of the many in that uncertain middle ground trying to survive, pen in hand.
What a jazz singer does with a melody is every bit as compositional as an improvised instrumental solo, and not only when those singers are scat singing. Over the course of the next three weeks, three extraordinary jazz vocalists who come from three very different backgrounds and span three generations—Sheila Jordan, Fay Victor, and Jen Shyu—will tell the story of why they sing, what they sing, and perhaps most importantly, why they sing what they sing.
“Black MIDI” refers to the moments in a piece where the notes, if displayed on a traditional two-stave piano score, are so dense that there appears to be just a mass of black noteheads. The increased density of notes also affects the computer, which is sometimes unable to process all of the notes within a particularly complex section. The goal of Black MIDI is to approach this processing failure without actually crossing that line.
Today, across South America, one finds dozens of tourists from all over the world (including many from the United States) who wish to explore the richness of the region. But within the world of notated music, the situation is the opposite. In fact, we can no longer talk about Latin American as a single unit, given the lack of information that exists between its different countries.