Good evening, folks, and welcome to my analysis of the 2020 ICD Internal Review. After spending months systematically failing the marginalized composers they claim to advocate for, the Institute for Composer Diversity has finally taken time to stop making non-apologies and engage in some institutional introspection. While this internal review should’ve been external, this document is the most comprehensive look we’ve ever gotten at ICD’s policies, goals, and priorities. On the surface, it looks good; they grapple with many criticisms from the past year, and they make some effective changes. However, a deeper dive reveals a heavily-plagiarized document that hides major issues while further stigmatizing the composers in its care.
Overall, the review reflects the legacy of performative activism ICD has grown into. I believe the review team did their best, but the Institute doesn’t walk the walk. This hamstrings their efforts—particularly while Director Rob Deemer refuses to relinquish control.
That sucks, because I wanted better. I used to be listed in the database; Rob informally recruited me to be a data-entry lackey when I met him at the International Women’s Brass Conference in 2019. Hell, I loaned ICD one of my blog posts last spring before realizing the full extent of their harm! I want to believe this organization that gets mentions in the New York Times is doing intersectional, antiracist work to tangibly better the lives of marginalized composers. I want to believe I don’t need to warn my band director friends every time I hear they’re looking for a new batch of ensembles to recruit. But I can’t believe in ICD when they have the chance to do something right yet squander it with linguistic carelessness and inconsistent policy decisions.
It’s important that we analyze both ICD’s sweeping policy choices and the little wording decisions they make along the way. Many of ICD’s (and Rob’s) mistakes in the past year relate to concepts many of us learn over time. As a major organization dedicated to representing marginalized populations, it’s their responsibility to already know better, and I’m going to point that out a lot. When others have made the critiques publicly before, I’ll link to those posts.
But the knowledge I’m sharing here is for you, too—because with the right tools, you are capable of being a powerful force for change. And I’m really glad you’re here.
Continue reading “The ICD Internal Review Part 1: There’s No Policy Like No Policy”
I’ve been sitting on these plans for months now, and I’m so excited to finally share them with you. Over the past year, I’ve been floored by the willingness of friends, family, peers, colleagues, and near-strangers to support my art in all its different forms. That support, whether emotional, financial, or professional, has enabled me to reach new heights and produce work I couldn’t even have conceptualized not so long ago. In just two years, I’ve put out a significant amount of work about sexual assault and rape culture. My understanding and use of extended techniques has grown, but I still enjoy mixing them in with more “normal” sounds for a new blend of timbres. I’m braver and more authentic as a performer and artist. I’m so proud of how far I’ve come during my MFA, and even though I know this is just the beginning, it’s a little crazy to believe it’s even real.
As I leave academia (at least, the student side of things) and start bringing my artmaking practices fully into the professional sphere, I’m looking for ways to not only ensure I keep creating new work but get it into the hands and headphones of people who might not always be able to see it performed live. I’ll be rolling these out as they wink into existence, and the first platform I’m adding to my creative portfolio is my Patreon page. Continue reading “I’m Launching a Patreon!”
Fetter (n.): 1. a chain or shackle for the feet. 2. something that confines.
Some of my favorite hooks in the world are the kind where you can tell something’s being revealed or turned on its head, but you won’t figure it out without a little research (or an extensive vocabulary). And man, Ian Stahl sure knows how to write one.
The line in question comes at the end of the chorus of “Fetters and Feathers,” the title track of Cilience’s debut EP. Backed by intrinsically satisfying syncopation, frontman Stahl sings, “Waiting for something better/Until fetters are feathers, I’ll sing until I can fly.” It’s the kind of music you’d want to listen to during a sunny drive up the Ventura coast—which, for a song intended to highlight racial inequality, is impressive. Its parent record, Fetters and Feathers, is a conceptually quirky but idiomatically sound ride through a host of styles and existential quandaries that invites listeners to explore as far as they want to go. Continue reading “Sing Until I Can Fly: Cilience Releases Debut EP ‘Fetters and Feathers’”
A week has come and gone, and one cancelled flight and many phone calls later, I’m in the air headed home from the Rafael Méndez Brass Institute. RMBI brings together a veritable army of instructors, students, auditionees, performers, and a couple amazing collaborative pianists for a week of brass-related shenanigans. I didn’t want to post too much about my expectations going into the festival, so for the most part I’ve kept quiet online. However, now that I’ve made it out the other side, I thought I’d compile a list of the festival’s greatest hits (and misses) for anyone who’s considering attending next year. As always, these opinions are my own, and I’m always cognizant of the fact that as a musician whose focus is largely on contemporary performance, my experience differs from my peers’. But here are my biggest pros and cons of RMBI 2018: Continue reading “Summer Festival Breakdown: the Rafael Méndez Brass Institute”
Over the past year, CalArts has allowed me to learn at my own pace while providing countless opportunities I wouldn’t get elsewhere. That said, it’s not all sunshine and rainbows. Like every school, CalArts has serious downsides it needs to address. I can’t speak as much to programs and events outside the music school, but even within HASOM (the Herb Alpert School of Music), there are significant issues that require more management than students or faculty are capable of providing individually. And sometimes, the administration’s what’s causing the problems. So buckle in, everyone. This one’s long.
Let’s start with my favorite part of every school: the Title IX office. Continue reading “A CalArts Year in Review: Part Two”
Like every YouTuber ever, I’ve decided to start a monthly favorites segment. Ultimately, my goal is to highlight music, creatives, and moments I enjoy. If anything catches your attention, don’t keep quiet!
March has been an absolutely insane month. I had the privilege of playing on three recitals (including my own), joining ensembles on various other concerts, clearing a couple commissions off my plate, and preparing for premieres of new works. That said, this is what’s caught my eye and ear: Continue reading “March Favorites are here!”
As basically the entire Internet has noted, today is International Women’s Day. (Other fun facts: the International Trans Day of Visibility is March 31, Intersex Awareness Day is October 26, International Non-Binary People’s Day is July 14, and International Men’s Day is November 19. Celebrate things!) It’s a great time to reflect on powerful, accomplished women in our lives and in the world at large—my mother, my close friends, and the cast of Black Panther are all high on my list this year. But just as importantly, it’s an opportunity to support female-driven business, art, and movement, a moment to pause and commit to furthering the careers and livelihoods of female professionals we believe in.
That said, here’s my (admittedly too short, but ever-growing) list of musicians I’d love to see more from or work with over the next year: Continue reading “On International Women’s Day”
Mornings start early in the Arizona desert. Though summer and fall are by far the most torturous, runners, cyclists, and the athletically-inclined start going out before dawn as early as March in order to avoid heat stroke. It’s part of the state’s culture—get up early, be outside, then retreat to the depths of air-conditioned buildings until it’s safe to set foot outdoors again.
Brianne Borden’s mornings start early no matter how warm it is (or isn’t). Continue reading “The Pursuit of Relaxation: Brianne Borden on Music, Yoga, and Balance”