Cullyn D. Murphy's "Agony" is a riveting, fast-paced work that fuses spoken word, percussion, mixed media, and theatrical elements to push the idea of what musical organization is, and what music is.
As a composer and an arts administrator, I work by hand on both musical scores and countless documents at the office. Over the years, I have come to rely on certain pens.
Here is a look at some tools I am currently using as part of my "audio toolbox", and some tools I am looking at myself.
I have tried out Finale's part-making capabilities in version 25, and used linked parts for the first time. Here are my notes.
I have finished engraving the score to my latest orchestral work. I will be scanning and re-scanning it for a while, but for now the score is done.
As noted in my last post about this, my current work centers around engraving the score of an orchestral work composed in Finale version 25. So far I have 6 pages engraved, with 3 more pages of music and 2 more pages of cover/title information (the cover and inside cover will be made in Microsoft Word).
This book could occupy all of your time if you wished. It is an essential read for every composer, containing the manual that nearly all great classical composers learned from. Contemporary composers still use it today both as a way to learn and a tool for teaching their students.
My go-to studio monitors for years have been a pair of Yamaha HS5 powered studio monitors. They have helped me produce 3 albums, hours of electroacoustic music, and listen deeply to mixes I love so I can understand them.