{"id":442753,"date":"2023-08-23T12:56:08","date_gmt":"2023-08-23T16:56:08","guid":{"rendered":"https:\/\/newmusicusa.org\/?p=442753"},"modified":"2023-08-24T10:50:44","modified_gmt":"2023-08-24T14:50:44","slug":"releasing-the-composer-within","status":"publish","type":"post","link":"https:\/\/newmusicusa.org\/nmbx\/releasing-the-composer-within\/","title":{"rendered":"Releasing the Composer Within"},"content":{"rendered":"

\u201cThere is only one of you in all time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost.\u201d<\/em> \u2015\u00a0Martha Graham<\/p>\n

Let\u2019s face it \u2013 the world of contemporary concert music has never been as diverse and engaging as it is presently. As someone who grew up during the age of Serialism versus Minimalism, I feel so fortunate to be exposed to music being written today that connects with and welcomes an ever-broader and larger audience. This music has inspired me to create my own music and to release the composer within myself.<\/p>\n

Background<\/strong><\/p>\n

From my youngest performing days, I have been attracted to new music, and to the idea of working with living composers and seeing their musical language come to life. As a student violinist, the majority of repertoire I studied and performed was exclusively the music of others, of the great composers of the past; even then, I felt that the creation of music (composition and improvisation) were lacking in my musical development. Later, working with significant composers including David Diamond, Charles Wuorinen, and Jacob Druckman, I was captivated by these brilliant minds, and struggled to understand their creative concepts. More often than not, however, I was intimidated and too overwhelmed to attempt to create my own music. As my career progressed and I worked with noted conductors, performers, and composers, I began to understand rather more of the creative process in terms of conceptualizing and writing music. With the advent of the neo-tonal, rhythmically-driven compositional style prevalent starting in the late 1990\u2019s, I was inspired and empowered to start writing. With each composing project, I learned a great deal, especially from the failures and challenges.<\/p>\n

Inspiration<\/strong><\/p>\n

The big question is how to find the inspiration and courage to compose music. No matter how little training or \u201ctalent\u201d we have, something speaks to us to foster the need to create. A book that addresses this eloquently is The Moon and Sixpence<\/em> by W. Somerset Maugham, a novel based in part on the life of artist Paul Gauguin. The main character is a middle-class office worker with absolutely no training or talent, only possessing an intense drive to create. Despite the criticism of just about everyone, and even acknowledging himself that his work is terrible, he doggedly continues. In the process, he grows into one of the greatest painters, with his originality earned from his relentless quest to create, borne on the wings of failure, criticism, and unceasing work.<\/p>\n

In looking at role models around us, we can find inspiration and motivation in two types of composers: those who inspire by their greatness, and others who encourage by doing, no matter what the level.<\/p>\n

Incentive for composing music can also be fostered by a sense of connection with the world, of giving voice to social justice, of contributing to positive change. Being a part of a larger meaning can fire our creativity and give us the courage to create something new.<\/p>\n