Chinese composer Zhenyan Li on noh theatre, Beijing Opera, political humour, and writing “sarcastic” music

beyond genre
beyond genre
Chinese composer Zhenyan Li on noh theatre, Beijing Opera, political humour, and writing “sarcastic” music
Croatian composer Veronika Reutz Drobnic on 3D notation, instrumental augmentation, Japanese folk traditions, and Jennifer Walshe
Composer and performer Anthony R. Green on Stockhausen, social justice, boundaries of composition and performance, and promoting Black artists
Composer and bandleader Olivia Murphy on organising a jazz orchestra, writing for voice, and accessibility of jazz composition
Composer and conceptual artist Fraz Ireland on unconventional programme notes, the concert experience, notation as invitation, and MS Paint
Welsh composer Cameron Biles-Liddell on staticity and momentum, timbre, Birtwistle, and writing “sparkly” music
Iranian composer and santoor player Atefeh Einali on fusion, improvisation, incorporating traditions, and the interaction between Iranian and Western repertoire
Australian composer Andrew Chen on anthropomorphosis, synthrumentation, self-promotion, and improvisation as compositional process
Greek composer and pianist Roxani Chatzidimitriou on dance, Greek poetry, self-motivation, and finding complexity in simplicity
London-based electronic artist Tom Baker on musical purpose, compositional stimuli, and curating artistic communities
British-Japanese composer Ben Nobuto on the hysterical sublime, accelerationism, postmodern hyperspace, and the “human 2.0”
Composer-performer Emily Hazrati on breath, heritage, performance as ritual, and collaboration as dialogue
Birmingham Record Company writes about their compilation highlighting composers Emily Abdy, Andy Ingamells, Ryan Latimer, Genevieve Murphy, and Corey Mwamba
Composer-performer Francesca Fargion on predictive text, failure as an aesthetic, and creating imaginary worlds
British composer Alex Tay on psychoacoustic illusions, musical quotations, and “manic” compositional process
Composer and sound artist Jasmine Morris on viking instrumentation, butoh dance, and creating sound paintings
Cellist Matt Phillips writes about his debut album exploring Liverpudlian identity, channeling druidic stones through improvisation and collaboration
Multimedia artist Sonia Killmann on audiovisual composition, interdisciplinary collaborations, and working in Ukraine
LA-based composer Jeremy Rosenstock on sonority of abalone shells, postmodernism, and duration as the language of nature
Architect and composer Emma-Kate Matthews on “spatio-sonic” research, binaural microphones, and constructing sound and space