Just as we ate before microwaves and were polite before cell phones, there are those who remember made-at-home computer music before Apple invented it.
Lois V Vierk’s extensive use of slides is a personal musical response to a reality of nature.
Jason Eckardt is a composer who produces scores of frighteningly complex notation; who counts Schoenberg, Coltrane, Stockhausen, Ferneyhough, and Lachenmann among his primary influences; and who got his start in music as a guitarist in a metal band.
Tan Dun has found a way to simultaneously be an experimenter and a populist.
Pianist and composer Michael Djupstrom may have been born in 1980, but don’t come to his work expecting trendy, genre-bending, “I want my MTV!” sonic pop-culture references.
David Rakowski combines hardcore intellectual rigor with unabashed humor and, at times, pure silliness.
A chat with British-born, New York-based composer Anna Clyne about musical life on both sides of the pond, the unique places she finds her electronic sounds, and how writing for the orchestra is not so different from writing for the studio.
Freedom guides how Ornette Coleman has been making his music for over a half a century, and it’s also how he leads his life.
Deeply influenced by Asian and Middle Eastern timbres and acting styles, Seattle-based composer Garrett Fisher has created nearly a dozen mixed-media stage shows which integrate his own myriad influences along with those of his many collaborators.
If ever there was a spokesperson who could clearly describe what this field is to folks who are not a part of it and get them excited to learn more about it, it’s Jennifer Higdon.