If that incendiary Spectator article actually had anything to teach us, it’s that there’s intense interest in female composers!
This week, I want to talk about some of the actual work I’ve done with indeterminate digital music, with a focus on both the technologies involved and the compositional methods that have proven useful to me in approaching this sort of work.
Andy Milne explains how he wound up in the captain’s chair on the Enterprise.
Music seems to have more restrictive standards for fair use than other creative arts because there’s a well-established market for licensing arrangements, reprints, synchs, and samples, all of which are treated as derivative works. And courts are very reluctant to disrupt the marketplace—even one as dysfunctional as music licensing.
Being an astute listener to the world around him and playing in a wide array of styles throughout his career has enabled Andy Milne to operate fluently in all of them, whether its his hip-hop infused jazz combo Dapp Theory, a collaboration with traditional Japanese koto players, or his soundtracks for William Shatner’s series of Star Trek documentaries.
I have a certain tendency to refer to my indeterminate pieces as “my indeterminate pieces.” But wait, aren’t they generative? In this week’s episode, I want to try to hash out some of the terminology floating around this sort of music.
Composer Carolyn O’Brien calls on her ingenuity and strength to create through, and with, severe depression. Read her on the importance of formal structure, a sense of play, and a great husband.
Two composers sit down and talk about depression, PTSD, and how social media can increase isolation.
Everything you’ve heard about fair use is probably wrong. It’s always a gamble as to whether something is or isn’t a fair use and, in my humble opinion, courts have recently shown a lot of chutzpah in making the determination.
A composer ventures into deeply personal territory, sharing her unique experience of sound, color, trauma, and the body.