After hearing pieces in just intonation and the beauty of 7th, 11th, and yes, even 13th partials, how could I constrain myself to a system that ignores them completely?
As a composer of intimidating-looking music, what compromises, if any, do I need to make in order to break into the realm of symphonic writing?
While it is extremely convenient to simplify ideas through binaries and compartmentalization, art (and indeed human nature) is rarely so clear cut.
Why do so many composers shy away from declaring themselves pedagogues; do we actually believe that “those who can’t do, teach?”
During which we squint and see the world in a whole new way—and have to bother with a lot less of it!
Lately, I’ve been hearing the language used to describe enjoyment and interest take a turn toward mental imbalance.
I’ve been forced to consider a problem I’ve been putting off for years: My music just doesn’t sound good enough.
I’m trying my best to recover from list-o-mania (you know, obsessing over all these lists of the greatest “fill in the blank”). However, my fuming while reading through all these lists did inspire some new lines of questioning about our relationship to the music we care about and its seemingly fragile relationship to the world beyond us.
Perhaps it is time to take matters into our own hands and create something like match.com for facilitating the creation and playing of new music by young players.
Look out world—here we come!