I’m a huge believer in first instincts and happy mistakes, or maybe I’m just lazy.
I’m transcribing a recording that I’ve heard dozens of times before, but I’m finding that none of that listening has prepared me to overcome the elusiveness of Oscar Peterson’s hyper-mercurial playing.
How do I begin translating musical research into a new piece?
Might the web be the most effective way to make a greater number of composers more visible?
Clearly Bernstein still matters, but does West Side Story, in today’s musical theater world?
Trembling hotel maids, a French bulldog, and an errant email? Guilty pleasures, xoxo.
I’ve been thinking about creative uses of microphones and unorthodox recording techniques in general, and was wondering if any of you have any that you’d like to tell us about.
Is all publicity, good publicity?
Whenever I meet non-musicians in a social context and the nature of my job (i.e. “composer”) is made public, there are a few questions I can almost always expect to be asked.
How service organizations define what a composer is and what new music is both have significant implications in how they promote our constituency.