Machaut at a banquet (Bibliothèque National, Paris, public domain, Wikimedia Commons)
In the second of my SoundMakers Composer-in-Residence posts, I want to describe the piece I wrote (to be premiered spring 2015) and why I wrote what I did. Titled Longuement me sui tenus and scored for four vocal soloists (SATB) + electronics, the piece is based on a text by 14th-century French composer and poet Guillaume de Machaut. I didn’t set out to write a piece on a Machaut text, but as I did more research on themes connected to SoundMakers, Machaut kept coming up.
Longuement me sui tenus is the first line of Machaut’s Lay de Bonne Esperance, an epic 20-minute love song, to be performed a capella by a single singer. Musically, it doesn’t fit modern ideas of what a love song is, especially considering that it addresses unrequited love: it’s monotonous, strangely chipper, ramblingly bouncy, goes on forever, and doesn’t have much variety in terms of phrasing. Frankly, it’s kind of boring and I’ve never listened through an entire recording of the piece in one sitting. Yet still, something about the poetry stuck in my head. Somehow it felt like it was the right fit for my piece, even though I didn’t like the original very much. Read on ››
Jonny Greenwood with composer Krzysztof Penderecki (Photo by Polish National Audiovisual Institute)
This week my Facebook feed was barraged with angstful hand-wringing over comments by Radiohead’s Jonny Greenwood, who told the BBC he finds classical concerts “off-putting.” Greenwood wasn’t dissing classical music—he performs it, after all—but he felt like classical concerts should model their formats after indie rock shows.
A host of blog responses popped up with suggestions on how to “improve” classical concerts: encouraging people to clap between movements, getting rid of formal attire, tuning back stage, and so on and so forth—nothing original, nothing useful, and all of it completely missing the point.
Look, classical concerts are off-putting—to some people. Any type of concert is going to be unappealing to somebody. But off-putting-ness is a feature, not a defect. That’s why teenagers perennially hate their parents’ music and vice versa. If your concert doesn’t put off someone, you’re doing it wrong. Yet for some reason, in the classical world we try to be all things to everyone. That, in my opinion, is the only real thing wrong with classical concerts. Read on ››
This is the first post of my SoundMakers composer-in-residence position with Soundstreams. The residency is rooted in the idea of making the act of composing more visible, more tangible, more participatory. This is the main challenge for musical creators in 2014, and a subject I’m very passionate about.
We don’t live in a very composer-centric time. Celebrity chefs have taken over the cultural role composers used to play, and the performer-focused nature of the pop music scene has downplayed the importance of the composer’s craft. To most people, composers are a relic of a bygone age, or perhaps ultra-specialized craftspeople who serve at the pleasure of a film director. We are abstract and far removed from daily concerns, like the engineers that design traffic signal algorithms, and for that reason composers and composition receive scant attention from the public at large.
Read the rest of this article on the SoundMakers blog >>
Soundstreams 2014/15 composer-in-residence
I’m happy to announce that Toronto-based new music presenter Soundstreams has chosen me as their 2014/15 SoundMakers Composer-in-Residence. The residency includes the commission of a new piece for four digitally prepared vocalists, as well as a series of blog posts, educational efforts, and several other activities.
Check out the kick-off Q&A interview I did with Soundstreams, where we discuss everything from how I became a composer to what kind of shoes I wear. You can also check out the first blog post I wrote for SoundMakers, titled Composers Should Be More Like Chefs.
Also, make sure to poke around the SoundMakers site, which is a fantastic archive and remixing tool full of CC-licensed materials for downloading and sampling.
“Construction worker” by Christoph on on Flickr.
A common complaint among grant recipients, both in the arts and more generally, is that too many funders only support “new capacity”: they aren’t willing to chip in towards general operating expenses or other core activities that require ongoing support. It’s not hard to see why this is. Overhead is not a particularly sexy thing to fund, it doesn’t produce flashy case studies to show off—and of course it’s much easier to fund one-off projects with finite bounds than ongoing programs that demand detailed auditing.
There’s nothing inherently wrong with project-based philanthropy when it’s one funding option among many, but it becomes problematic when it’s the only show in town. The imbalance fosters lopsided organizational growth. It encourages waste and misuse. It can even backfire financially, creating costs in excess of what recipients receive in funding. Read on ››