Blogs

Classical Music Has Open Data Sets?

The chart from

In open data sets, Suby Raman found a lot of really interesting stories to tell about the performing arts. Because he’s a composer, he knew what to look for in the data and what would matter to people. Because he’s a programmer, he knew how to handle the big data set itself.

The Art of Doubting Myself

out of your head

If I write music that both satisfies and excites me, and is music that I want to hear, and I’m being honest about all of that, then I’m good. Anything beyond that is a lucky perk, and anything less than that can be worked on until it’s up to snuff in my musical worldview.

Listen To Music, Dammit!

pile of CDs

Listening to and trying to understand as much music as possible, even music that you don’t enjoy, is an incredibly important part of becoming a better and better musician. Knowing, experiencing, and learning from more than I knew, experienced, and learned from yesterday is a worthwhile goal.

Incarceration and Musical Inspiration Part Two: The Human Piano

A 1932 State Education Department plaque on the entrance to Auburn Prison which reads: "ERECTION COMMENCED 1916, FIRST PRISONERS 1817 ASSISTED IN CONSTRUCTION, FIRST ELECTROCUTION IN THE WORLD 1890"

It was shockingly easy to forget, in the midst of the classroom environment, that the majority of the students were serving life sentences for committing horrendous acts. I reminded myself that my goal was to share the joys and mysteries of music making, to try to understand their need for creative expression, and in turn, gain insight into my own personal and artistic motivations.

There Is No Right Experience

Chris Cerrone’s Invisible Cities at Union Station

Who is to say that my interpretation is best, or that a best interpretation even exists? And why should we limit ourselves, as composers, performers, or listeners, to just one option? We’re the creative ones, right?

Disposable Spaces, Plastic Music

Headphones

We mostly listen to recorded music, and we likely hear it alone—in a car, through headphones, maybe through a set of speakers at home. This kind of listening space is simultaneously ephemeral—in that it is fundamentally malleable—and monumental—in that its infinite repeatability aspires to cultural permanence.

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