Scottish-Australian composer Aidan Teplitzky on class identity, familiarity, thriftiness, and creating working class music

beyond genre
beyond genre
Scottish-Australian composer Aidan Teplitzky on class identity, familiarity, thriftiness, and creating working class music
Hong Kong-born composer and theatre-maker Carla Ng on empathy, burnout, performer and audience agency, and being a dramaturgical “fixer”
Scottish composer Gillian Walker on modular composition, “total theatre”, and the aesthetics of performance
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 conceptual artist Fraz Ireland on unconventional programme notes, the concert experience, notation as invitation, and MS Paint
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
Multimedia artist Sonia Killmann on audiovisual composition, interdisciplinary collaborations, and working in Ukraine
British-Australian choreographer Tanna Chamberlain on reality TV, non-dance, escape rooms, and inspiration from the everyday
French composer and bandleader Mathis Saunier on Jonny Greenwood, Alexander Schubert, Black Mirror, and hands-on compositional process
Amsterdam-based conceptual composer Luke Deane on post-Cageian thinking, fluidity, queer art, and alter ego Lisa
Welsh writer Joshua Jones on cut-up poetry, Frank O’Hara, Joan of Arc, and the subjectivity of truth
Spanish composer Victoria Benito on absurdity, meaningless music, and Birmingham’s ‘DIY-classical’ scene
Artist and environmentalist George West on Fluxus, deconstructing orchestral hierarchy, libertarian score-making, and composing sustainability
Irish composer-performer James McIlwrath on “anti-comedy”, Neil Luck, and subverting the concert environment