a blog for the composers and audiences of today's music.
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DanLisMusic
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Scott Blasco’s work “Queen of Heaven” is a devotional-type meditation for piano and electronics.
Read MoreKyle Grimm’s music spans the gamut of media and instrumentation. A double bassist and dance collaborator, he also has experience working with ensembles and other performers. This is evident in his work “Pitchforks and Crow’s Feet”. The score can be found here: Pitchforks and Crow’s Feet for Flute, Cello, and Bass. This work relies heavily […]
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DanLisMusic
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It seems more and more that Iceland is becoming a haven for new music and new sounds in Hartford, CT. From the influence of Bjork to the Hartt School’s international collaborations, the music of Iceland is seeping deeper into the Hartford area. Gísli Magnússon’s piece Svartifoss depicts a waterfall in his native Iceland, and is […]
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DanLisMusic
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Composer Aaron Mencher‘s work “Uncertainly Yours” is a very cohesive work that relies on intervallic tightness, but is extremely fluid and athematic. Please download his score to follow along with this analysis. Here is the audio: The piece begins with the unifying interval that holds this piece tightly together, despite its arhythmicism and themelessness. The […]
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DanLisMusic
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One trap that is easy to fall into as a composer is the rigidity of rhythm, meter, and barlines. While these are good tools to use when constructing a piece, sometimes a true sense of line requires that you write music that is free from strict rhythm, meter, and barlines. This allows your music to […]
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DanLisMusic
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(Chart referenced in this post) Meaning in Symphony No. 1 Titles and Program As we see in the chart taken from Mitchell’s writings, the original title of the symphony was “Symphonic Poem” in two parts. Parts I and II were indicated, but not explicitly titled. The other movements were given brief titles. We know that […]
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DanLisMusic
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(Chart referenced in this post) Compositional History of Symphony No. 1 Most sources agree that Mahler wrote the majority of this symphony between January 20, 1888 and the end of March that year.[1] At this time, Mahler was a proponent of creating music based on building blocks—arranging and rearranging structures (especially pre-existing ones) to create […]
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