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.

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

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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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Ensemble Talk: On Working with Composers (Successfully)

Beginning in undergrad (and sometimes earlier), composers are taught how to approach performers—what to say, what not to say, how to phrase critiques, ask questions, and ensure a successful performance. But because traditional performance institutions, particularly those following the conservatory model, value dead composers above all else (except for that one large ensemble concert a year that’s reserved for new works), it’s not uncommon to encounter performers who haven’t thought all that much about how working closely with a composer can require something beyond basic professionalism. Young performers, particularly those who play works by a composer friend, seem particularly susceptible to this, but everyone can stand to benefit from some organized consideration every once in awhile. So what do composers wish their performers knew?

Continue reading Ensemble Talk: On Working with Composers (Successfully)

On International Women’s Day

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:

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Who I Am and Who I’ve Been (I Won’t Apologize For Either)

Four years ago, I was a very different person.

If you’d seen me at my college orientation, you would have encountered a girl feeling the keen edge of homesickness, shielding herself with a smile and throwing herself into social life in an effort to find some friends – any friends – to fill the gap between her and those she’d left behind. You would have met a girl who had a lot to say to the right people but who found that there weren’t many of those individuals cloistered within the walls of her fancy new dorm. So she remained quiet, because that was what she could do with who she had.

That girl didn’t last long; though she made the occasional reappearance, the woman she became found it far easier present the world with honesty and attitude in the hope of inciting genuine responses. And to a degree, that’s worked pretty well.

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We Now Return to our Regularly Scheduled Performances

Man, what a semester it’s been! I premiered five new works (Don’t TellLiar, LiarTipping PointStorm Warning, and Flatline); I gave my senior recital; I visited Michigan, Canada, and Los Angeles; I spent quality time with family and friends; and I made big decisions about my future. After all that, it’s been nice to get back into the routine over the last couple weeks. I thought I’d take a moment to outline where I’ll be playing, attending, and presenting work for the rest of the semester, for those of you who are interested:

Continue reading We Now Return to our Regularly Scheduled Performances

Graduate Programs: And the Winner Is….

The higher education application process stymies me. Sure, you can take a year or two off between high school and college or undergraduate studies and grad school, but for those of us that choose to power through it all, it’s a little crazy to be making super important life choices while juggling some of the craziest semesters of our education. I’m fresh off my senior recital, and now the time has come to make the next major decision of my professional and academic life: where I’m attending grad school.

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Multifaceted: It’s Time for the Recital

After four fantastic (and incredibly challenging) years at ASU, I’m thrilled to be presenting some of my best work for various instrumentations on my senior recital! You’ll get to hear some trumpet music and some non-trumpet music as played by a swarm of my friends and collaborators from the Phoenix area. The program is as follows:

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Welcome to the (Electronic) Jungle

Happy Spring Break!

I’ve been taking this week to explore places I’ve never been before, prep for my senior recital, and generally just relax before the hailstorm of midterms and rehearsals I’ll be thrown into once we’re back in school. In all the craziness of last week, I forgot to mention that I’ve begun posting recordings of my first experiments with electronic music and sound art. Here’s a brief rundown on each one, along with links to other places where you can learn more about them:

Continue reading Welcome to the (Electronic) Jungle