Concerts | Cascadia Composers
) has worn the hats of composer, producer, songwriter, engineer, sound designer Meet The Composer Creative Connections Grant. Distinguished. the diverse community in which Schandelmeier and Clapp live and work - Mount Rainer, Meet The Composer's MetLife Creative Connections Program *. Composer, lyricist and performer, Miranda wows audiences and Meet Lin- Manuel Miranda, the Genius Behind “Hamilton,” Broadway's Newest Hit .. Kail, another Wesleyan grad, were able to mount a workshop production. . so credit goes in equal measure to every part of the creative team, even if the.
He introduces a new theme when we meet the young Michael Corleone. It feels innocent and somewhat wistful. The theme develops in intensity and prominence as he grows in power, until the bold glory of Michael's fully-formed theme signals that he has arrived to take his place at the helm of the family.
We can use an unexpected musical shift, a lack of resolution, to surprise and enliven. It could be a breach in musical form or timing, or both together.
We can exploit the timbral variety of the orchestra to great effect. The choices that we make in orchestration can reflect certain emotional traits that these timbral differences offer: We can go deeper and explore timbral differences within the instrument itself, in the form of tessitura.
Music and emotion—a composer's perspective
A choice to use the higher range of the cello rather than the lower range of the viola, for example, will propel a slightly different emotional quality. It reaches a little more. The use of tremolo in sustained string lines creates or reflects tension. Perhaps because human perceptions are geared toward recognizing change—and tremolo is continuous instability, continuous change.6 Books to Inspire Any Creative Artist
So it gives us a sense of instability and suspense. We can present incongruities between picture and music to create a sense of something wrong, something surreal, where meaning is called into question. Similarly in comedy—whose very foundation is incongruity—you will often see comedic action scored as a serious undertaking.
From the perspective of the film's protagonist, these are serious matters. To us it becomes ridiculous. An oft-used way to impart a sense of continual forward motion is shifting the musical key up in intervals of a third. For some reason the brain jumps to this new place and no longer searches for resolution back to the original key. These ideas are just some of the many long-used compositional and orchestration vehicles in the western tradition that we can adapt to help tell a story.
And they work quite universally. Somewhat surprisingly, emotional cues in music from very diverse cultures can readily be picked up by those without any previous exposure to that kind of music Balkwill and Thompson, What is music for? So what exactly is music for?
Here are some ideas that interweave: Biology Throughout evolution from the most primitive animal utterings, musical sounds have served our basic biology—attracting and securing a mate, deterring a predator or warning of danger. In more complex species they are a catalyst for bonding and social cohesion They can both affirm and set aside an animal's individuality. In humans it goes further, expressing shared tastes, moods and a deeper identification with each other and for oneself Shepherd and Wicke, Yet at heart, music is an act of interplay.
When looking at brain imaging studies Levitin,it is not just the composer or improvisor's brain that demonstrates wide activity.
The brain of a listener lights up like a Christmas tree, brimming with sympathetic and covert responses, digging into its own understandings and memories and experiences. Indeed as composers, we are not painting a full and complete picture for our listeners of what to feel, we are really just opening a window and pointing in a certain direction.
Listeners find their own way there and maybe go way beyond, or somewhere else entirely. That is perhaps what makes music so exciting: We are exploring a shared empathy. Abstraction To be human is to be capable of abstract thinking, of conceptualization, conscious and unconscious.
Meet Lin-Manuel Miranda, the Genius Behind “Hamilton,” Broadway’s Newest Hit
We imagine traveling to the moon on an abstract plane, then we bring it into being. This capacity is both an outgrowth and a tool of our evolution. As defined as music can try to be, it is still fundamentally abstract. More than allowing us to speak in-between-the-lines, perhaps music is representing our capacity for abstract imagining of an environmental condition. Maybe it is echoing environmental cues that have been with us throughout our evolution: Influence and control We can also control our emotional environment, much as we control room temperature.
We can calm or stimulate ourselves, work a crowd into a dancing frenzy or sing a lullaby to send a child to sleep. One of the more stark examples of musical control is being explored in bus stations and public places where crime tends to hover. Classical music is piped through the speakers in an effort to diminish violent behavior and keep unruly types at bay Midgette, Transportation To me, music is an open place, a portal.
It is a transportation system to and from our subconsciouses, our instincts and our shared culture. This ancient and amazing technology, still developing from its beginnings of primitively produced sound to birdsong, and all the way to symphonies and salsa. It is a technology that has the power to transport us instantly to a time past or future, yet not in a passive way. We are immersed and we can relive an experience in vivid depth and feeling: The clarinet and piano version of this piece has been performed with Ben Farrell a number of times in the last few years.
I was interested at the time of composition in the abstract and historical references to the number five i. In my piece the number crops up in the use of pentatonic scales, the circle of fifths, five note phrases and of course meters in five. A little friendly wager: Five dollars to the first person who guesses the jazz tune reference to another number in the middle of the piece.
Having received his B. Mus from the College-Conservatory of Music in Cincinnati, OH, he draws upon a classical music training while encorporating various popular styles. These performances emphasize collaboration with dancers, poets, and circus artists to live, original music.
Cherry Blossom strives to make modern art music accessible to a wide audience. Paul is in demand as a freelance pianist and vocalist.
Dance Box Theater, Inc. - Laura Schandelmeier & Stephen Clapp - Dance - Theater - Performance
As a chamber music performer he works both as accompanist to soprano Nancy Wood and half of a piano duo with Ben Farrell. He enjoys a busy piano teaching studio working with students of all ages.
His compositions include Catholic liturgical music, contemporary music for solo and small ensembles, orchestral music, rock and blues. The chapter on scales was of particular interest to me. In this chapter, Mr. Persichetti describes the three most common hexatonic scales their theory and their use. The best use of these scales is primarily for melodic writing.
The goal is to avoid monotony. The end result is a unique sense or flavor of polytonality. The 1st, 3rd and 5th preludes are designed to be fast. The 2nd and 4th preludes are slow and lyrical. He currently studies with the Portland composer Tomas Svoboda.
Nick Sibicky — Fireflies for stereo audio playback alone There are intimate worlds that can be found all around us if we only look for them. When we were children, we giddily explored these fantastic worlds without thinking or hesitating; only pausing in our explorations and imaginations when adults called on us to go eat dinner or go to bed. I believe it to be very sad that these worlds are gradually becoming more and more foreign to me as I mature. Music should light up the air around you, fly around your head, and make you chase it into deep the night.
It should mimic the naive adventures of youth and allow people to forget that they are adults. He is currently a doctoral candidate at the University of Texas at Austin. He has taught electronic music at the University of Texas as an assistant instructor for three years. Alden Jenks — Ghost Songs for soprano and piano These songs were written between andusing poems by a poet whose work I have set several times over the years.
CV – Brendan Connelly Composer & Sound Designer
I hope the music speaks for itself. As usual I had no idea how to compose when I began, and gradually discovered a way. His music has been performed in the San Francisco Bay Area and around the world.
He studied composition with Darius Milhaud, Ben Weber, Andrew Imbrie, and Karlheinz Stockhausen; he studied piano with Robert Helps and Barbara Shearer; and after his academic work was completed he worked closely with David Tudor and John Cage in several workshop and performance presentations.