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.
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.
We tried to describe what different instruments looked like and we realized that what we needed was a live concert. There was great concern among the prison administration that the violin was a dangerous instrument. The strings could be turned into a weapon. Emails and phone calls went back and forth for months.
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.
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.
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?
Imagine a class where every student feels it is a privilege to learn, yearns to participate and be heard, and absorbs all of the material with passionate curiosity. Within the nightmare of incarceration flourished the dream of education, an unabashed, provocative insight into musical meaning and expression.
Learning Hindi in its written and sung forms simultaneously has been revealing in so many ways. Little idiosyncracies I would have otherwise missed in the language are illuminated through song.
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.
Today marks the 40th anniversary of Nicolas Collins’s Pea Soup, a piece that uses electronics to “play” the signature acoustics of a space. In honor of that milestone, Collins today unveils Pea Soup To Go, a free virtual jukebox programed with recordings of 70 different versions of the work.