Emerging Composers and Age Limits (Newsflash: That’s Not A Thing)

There’s this idea among musicians and arts organizations that there’s a deadline for being an “emerging composer.” The age in question can vary, but because we commonly associate emerging composers with youth and being newly educated, the cap is rarely over forty. Sometimes it’s thirty or thirty-five. And while that’s great for folks like me, who found composition very early and have been able to capitalize on a college education in the subject, it’s not so ideal for . . . well, lots of other folks.

I recently came across a composition competition run by the National Women’s Music Festival. They were soliciting scores from “emerging women composers” (their words), but I was surprised and pleased to read that there was no age limit (lower or upper) for their call. To be fair, it is less surprising that this is coming from an organization dedicated to women, because of one crucial thing: childbirth.

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On Pen Names, Impersonation, and Identity

Greetings, folks, and welcome to another episode of Posts I Didn’t Want To Write. Today, we’re using a real-life example to talk about marginalized identities in composition and repertoire. However, this example, highlighted this week by the band and orchestra communities, is of a white man using a pseudonym to represent himself as a female Japanese composer (and, by extension, to represent his appropriative works as authentic).

The man in question is Larry Clark, an educator-turned-composer who has achieved some prominence as a large ensemble composer, particularly for young groups. Clark has, since at least 2005, published some works under his own name and others under the pseudonym Keiko Yamada. Titles from Clark’s catalog are fairly standard for a white composer in this century—“Subatomic,” “Intuition March,” etc. (I will not be linking to his website or any of his content during this post.) Yamada’s titles all lean into the supposed Japanese identity—“Hotaka Sunset,” “Kon’nichiwa,” “Japanese Lullaby” . . . you get the picture. To make matters worse, parts of this false identity seem to be co-opted from actual Japanese women—one student presentation on the “composer,” found in a basic Google Search, conflates Clark’s Yamada with the popular Japanese manga artist of the same name. The “composer”’s birthdate, available through Schott Music’s page dedicated to her, is listed as August 18th, 1972, which is the birthdate of Keiko Komuro, lead vocalist of the pop group Globe.

Through this, Clark has created two footholds for himself in the world of large ensembles: one in which he profits off his own name and one in which his racist, sexist, colonialist, and transphobic business practices allow him to profit from work misleadingly billed as authentic. He has created a persona that tiptoes into spaces he would not otherwise be welcome in. He has taken advantage of the intentional programming movement; Yamada’s name and work is listed on mandatory repertoire lists in at least two states. Further, the decision to publish under a name carrying double-minority status means he, a white man, can take up spots on concerts reserved for women, people of color, and women of color.

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Music, Weaponized Vulnerability, and the Question of Us

The end of my masters degree was a little nontraditional. This is fitting, I suppose, because most of the rest of my degree was largely nontraditional. But in my last semester, I was fortunate to spend quality time with four teachers (now friends) whose work I admire and who all handle life pretty well. My questions to each of them varied, but the gist was the same: what on earth do I do now?

See, I’m a good student, but I’m a professional very much in the process of figuring out what makes a career and how the wheels keep turning. I know I don’t have all the answers I need, and I understand some things will be lessons learned the hard way. But I’m also an artist working with (and through) an injury that could have ended my playing career, and I’m an artist whose creative output travels to very dark places a lot of the time. If I want to keep making work that truly challenges me (and maybe society), I have to develop habits and boundaries that preserve my personal wellbeing through the creative process. And, for the sake of my mental health, I probably need to grow those in the next five years and adapt them over a lifetime.

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I Need a Nap (Because Sexism)

If you follow me or the drum corps world, you know what happened this week with Phantom Regiment. They released their show concept for the 2019 season, based (veeeeeery loosely) on Joan of Arc, using the tagline “burn it all down” and claiming to be focused on women’s empowerment. The show repertoire accompanying this announcement revealed that Phantom would be performing this “empowering” show to a soundtrack of music written exclusively by men. I and many others critiqued the decision and battled harassment and cyberbullying in the comments sections of posts for three days before Will Pitts, head drum major of the fan-favorite 2009 Spartacus show and current head honcho at Phantom, put out a statement addressing the whole ordeal. While it was appreciated, it said little more than expected: Phantom isn’t changing its show, they didn’t realize the optics would work out this way (emphasis mine), they considered works by women composers, blah blah blah.

Let’s be clear: I in no way expected Phantom to change repertoire. They are less than a month from the start of their season, and even if they wanted to add a piece by a woman, I doubt there are many female composers (whose work they would want, anyway) who would be willing to go near them with a ten-foot pole right now. Those arranging permissions would be expensive. This announcement, while maybe preventing them from further putting their feet in their mouths, is a full two days late and several dollars short. But as much as I hope Phantom and its creative team learns from this experience and significantly reconsiders how they program their shows, experiences like this that are so widely visible both remind me why I do what I do and reinforce that as much as my own experience and perspective understands perfectly well why we should center some voices over others in artistic works, most people are not engaging with art and music on that level yet. There is still work to be done.

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Schrödinger’s Rapist and His Presence in Male Spaces

I spent much of the holiday season catching up on sleep and composing projects, and I’m happy to have some new things off the ground and some long-awaited scores nearing their premiere performances. This semester alone, I’ll have works performed in four to five states (which, for an early-career composer, is a Big Deal), and Letters will reach more audiences than ever before thanks to a couple large ensemble performances, a student recital (away from CalArts, even), and my own graduation project, face the mirror, which will have its own page soon but for now lives in my Projects catch-all. I’m super excited for each of these milestones and will devote more column space to each of them over the course of this semester, but I wanted to take a moment this week to talk a little about a piece I’ve just completed and how the concepts at play within it affect my own life on a day-to-day basis.

The work is called walking/I’m sorry, Mom and it was commissioned by my dear friend and fellow musical troublemaker Tanner Pfeiffer for the Contemporary Vocal Ensemble at CalArts. For CVE’s spring concert this year, Tanner is assembling a collection of works that explore, in some way or another, movement, theater, and/or dance within a musical performance context. Much of the art I currently enjoy making incorporates theatrical or dance elements, so I was excited to hop on board to contribute something new. Originally, I’d been aiming for a work that established strong connections between physical aftereffects of assault and their mental repercussions, but as dark works tend to do, the music pulled me in a different direction.

I wrote walking about what is [unfortunately] a quintessential part of the stereotypical female experience—a strange man, with unclear intentions, following a woman home late at night. “Don’t walk alone in the dark” was one of the sentiments that shaped my own coming-of-age experiences; ASU’s campus is lovely at night, and frequently the only reasonable time to walk around and enjoy the area is after the sun goes down, so eighteen-year-old me admittedly didn’t follow my mom’s advice to the letter. I’m fortunate that I started walking with friends before I could run into cause for concern, but I have friends (both from my time at ASU and other moments) who have dealt with these issues repeatedly.

More than that, though, walking isn’t just about being alone at night. It’s about being approached by a man—in any situation—and having to make that snap judgment of how to react. It’s about Schrödinger’s rapist.

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New Music and the Performer Problem

Earlier this week I had the pleasure of reading a post from my friend and colleague, Nico Bejarano, on cultivating acceptance of new music in a professional world that can at times seem dead set on only playing the repertoire already elevated to the echelon of “the classics.” (A comment my mentor Jody Rockmaker once made on my counterpoint homework, here taken wildly out of context, comes to mind: “Get your ears out of the nineteenth century!”) I concur with many of Nico’s sentiments, and I encourage you to check out his post here. I also wanted to take a few moments to address many of those same ideas from the perspective of someone who’s spent a long time being a composer first and a performer second.

Nico talks at length in his article about how the availability and mass consumption of recorded music has diluted audiences’ tastes down to an aural experience that prizes the familiar over all else. It’s an apt correlation; however, I argue that the demographic most affected by this oversaturation of Beethoven, Brahms, and Mahler isn’t our concertgoing audience­—it’s the armies of performers rising through the ranks of schools and orchestras that treat new music as an afterthought. These folks are used to cross-referencing recordings of the symphonies they’re performing that semester. They endlessly study their favorite soloists’ versions of their solo rep. And they lose the ability (or maybe the imagination) to look at a piece of unfamiliar music and bring it to life in their mind.

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A Manifesto? (otherwise known as An Intro to My Creative Practice)

Hello, friends! I hope this finds you well.

I’ve spent much of the past week reflecting on my experiences at the Rafael Méndez Brass Institute and getting back into the daily grind. I had such a great time getting to know everyone at RMBI, but it’s dawned on me that as someone who actively identifies as both a composer and a performer, I don’t talk as coherently about my creative practice as many of my new friends do. To be completely honest, I’m a little envious—from the outside looking in, it seems nice to be able to start by saying “I do this” and then getting more specific instead of explaining that you do two or three or five different things and having to elaborate on each one. I’ve also realized that I haven’t at any point sat down and written out how I describe and view my own work. (Grad school application essays don’t count.)

Generally, I dismiss myself pretty quickly. I tell people that I try to marry traditional technique and tonality with experimental idioms, and that’s true. Making weird things accessible to audiences regardless of their musical background is and always will be a priority. Even still, there’s so much more to my writing and performing than “it sounds a little weird but also sort of normal.” There are facets of my creativity I haven’t talked about very much. So this post has two objectives: to introduce myself a little more thoroughly to my friends (new and old, musicians and non-musicians) and help define for myself how I frame my creative practice.

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Choosing Music (and/or Money)

I distinctly remember when I started telling people I planned to go into music.

It wasn’t some grand announcement—I mean, I was a junior in high school—but the way people reacted, you would’ve thought I’d just proclaimed I was going to major in winning the presidency.

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The Finalists are Here! Phantom Announces its Second-Round Composers

No time like the present for a call for scores announcement!

As many of you know, Phantom recently wrapped our second call for scores. This time around, we separated the process into two parts: our initial judging and a finalist round,
in which we look at works from ten to fifteen composers and make our selections. In no particular order, our finalist composers for the Winter Call for Scores are:

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April Performances (and other adventures)

Friends,

What a month it’s turned into! April is shaping up to be action-packed in more ways than one. Because I’m about to plunge into a bunch of different performances, I thought I’d take a moment to highlight a few of them here:

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