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An interesting caveat to consider metaphysically as well as geographically: that perhaps the most interesting efforts in contemporary music do not occur in our major cities, but in areas one might seldom think to explore. Such a premise was suggested by Kyle Gann, in New York’s Village Voice, in reviewing my composition, ‘to release... to allow... to emerge...’, premiered by The Atlanta Contemporary Chamber Ensemble for New Music America 1992 at Georgia State University.
I've been creating works since 1972, premiered at such venues as Atlanta’s High Museum of Art, The Electric Mountain Music Festival of Central Wyoming College, the 11th and 16th Annual International Electronic Music PLUS festivals, the Festival Synthese Bourges in France, and Atlanta’s own Eyedrum. I've also performed with the avant-garde performing group Phobia Nova at venues including Atlanta’s Railroad Earth (in conjunction with Pauline Oliveros) and The Contemporary, and, through Composers’ Resources, an organization I founded in 1980, sponsored performances of contemporary instrumental and electronic music by some of the world’s most noted and interesting composers.
Can a 20th/21st century composer maintain music creativity as an art form free to explore new areas and uncover new truths about sound, time, aesthetics, and our relationship to these elements as both individuals and a society, while surviving on an ever-more challenging planet? Maybe... with some energy, some luck, some talent, and some very amenable colleagues!
Music is time. Life is time. Work is time. Remembrance is time.