Most serious instrumentalists don’t like to sing onstage. They may have sung in chorus or solfege class, and may sing in the shower, but the spotlight is something else. Adding to the stress, stage direction may take the singer/instrumentalist away from his or her music stand, requiring that the instrumental parts be memorized.
It began, as so many things do, with a moment of discourse on social media, a Facebook thread that got—as these things tend to do—heated on a topic I cannot recall. I messaged Matt Marks privately—the modern equivalent of repairing to the hotel bar for the sanity of a quiet drink—and said, simply, that we needed an actual space where these things could be talked about
As soon as David Stock got know you, he began to meditate on how his network could be used to help you—to make connections, to further your creativity, to further the cause of new music, and even to help you make a living. For as brilliant and accomplished as he was, he was a staunch anti-snob and always remembered how it felt to be starting out.
For decades Mary Jane Leach has been composing music that explores and exploits various psychoacoustic “ghost” sounds such as beat tones and combination tones. As a result, she has created numerous works for multiples of the same instrument or voice. She is also drawn to physical spaces where such sonic phenomena are at their most pronounced, such as churches, which is why she lives in one.
The visual arts and the sonic arts arrive to us from a distance, via electromagnetic radiation or fluctuations in air pressure, but taste and smell require direct contact. Philosophers have long debated whether the fundamentally different nature of these chemical senses precludes the elaboration of an art of ideas based on them, something that goes beyond the ancient and sophisticated traditions of perfumery or cuisine.