Thoughts

Link: http://www.netflix.com/Movie/Touch_the_Sound/70033401?

If you’re on Netflix and are interested in unique sounds (as I am), I highly suggest checking out this documentary on percussionist Evelyn Glennie. Honestly, as a composer, it resparked my interest in out-of-the-ordinary sound sources. Besides that, it was a really beautifully made movie with lots of interesting film work. It has been criticized for being slow, but I felt it was nicely paced for the subject material. It’s available for instant view, so click the link above and discover some new sound worlds.

I was able to attend NPAC, the National Performing Arts Convention, through an Opera America scholarship this past week. I wasn’t really sure what to expect or what I’d get out of the conference, but in the end it was a great experience and I am really grateful to have been able to attend.

10 Personal Highlights:

1. I got to see several familiar faces again, including Frank Oteri and Alex Shapiro.

2. I bumped into Kirke Mecham and got a chance to talk to him about his two operas, the first of which (Tartuffe) I sang the role of Orgon in grad school.

3. Met a lot of people and I wouldn’t normally have met through the caucus sessions. It was a very stimulating experience. One of the people was Alice Parker (of Parker/Shaw fame). She was very graceful and well-spoken.

4. Saw Nixon in China, something I’ve wanted to do ever since I learned about the opera. I wasn’t entirely sold on the third act, but really was amazed and actually moved to tears by many moments throughout the opera.

5. Was grateful that the final caucus session was organized by state. Again I got to meet some people in my neighborhood that I normally wouldn’t have had an opportunity to meet, especially the education folks at Utah opera.

6. The caucuses discussed many important issues. Diversity, arts awareness and education were brought to the fore. I was a little dissapointed that something about the artists themselves didn’t make it in to the national agenda, but c’est la vie.

7. Irony: the only person to actually ask me to send them some music without any prompting was a foriegner; specifically, a visiting orchestral conductor from south america. He explained to me that although they wanted the audience to come, they didn’t have to rely on ticket sales to keep going and therefore, they could program what they wanted to. That was a real eye-opener.

8. A singer/massous wants me (or someone anyway) to help her create a line of CDs to tune the shakras of her clientele, something minimalistic . . . we’ll see.

9. I met an old college friend, Dwight Bigler, who played for the premier of my first publicly performed song cycle as well as the workshop for my first opera. It was great to brush up on an old acquaintance. He’s now conducting a choir in Texas and I asked if I could send him some choral music.

10. Enjoyed many sessions, but was particularly inspired by the general session with Jim Collins. He suggested that we not try to follow a business model in the arts, because a business model is one of averages. If we want the arts to be great, we must follow a road of discipline and excellence, not averages. Excerpts from his book on this subject are at http://www.jimcollins.com/lib/articles/socialsectors.html

I could list more, but I’m lucky if you read that much. Anyway, it was a good experience and I’m glad to have gone. The conference did a lot toward recharging my batteries and gave me some really good ideas to try and implement.

All the best,
M Ryan Taylor

Link: http://www.newmusicbox.org/chatter/chatter.nmbx?id=5570

A composer at New Music Box is facing the titling dilema. Title the work? or use the generic "Untitled" for a piece. This was my response:

A piece without a name would be like a child without a name. How could you possibly refer to it, introduce it to anyone without a name? Even an abstract title like 5 Songs or Cycle of 7 Songs is better than Untitled because it at least lets people know a little fact about your piece. These structure/instrumentation titles are the equivalent for Untitled in a song cycle, but I would urge you to give the piece a proper name.

As concert musicians we cannot really get away with the lazy Untitled for a number of reasons. First of all, in the visual arts realm people usually only see the title after they have examined the painting, so the work is the introduction to itself. Here I am, it says. Then wanting to know more about the artist’s own ideas about the work, I turn to find the title. Even then, I am usually supremely dissapointed to find it labeled Untitled. I suddenly am left with the feeling that the artist didn’t care enough about the work to complete it. A title is part of the work.

In concert music, you will rarely have the opportunity for the music to introduce itself. The concert posters, the programs, news releases, etc. will be the first introduction to the piece, not the music itself. A title doesn’t have to please everyone, but it should evoke something about the piece that will hook the listener’s attention and make them anticipate it. Would you anticipate a piece more if it was entitled Sonata No. 1 or Short Ride in a Fast Machine? Song Cycle #5 or Quartet for the End of Time? Hybrids like this last example are great. They tell you what kind of piece it is and evoke a definite feeling. Samuel Barber’s Hermit Songs is another example of this.

The audience is not the only group of people you’ve got to "sell" your work to emotionally. When I go through the stacks of art songs at the local university library (I am a singer as well as a composer), my eyes gloss over when reviewing the hundreds of cycles titled things like 6 songs and the like. There is no memory hook and nothing to make me even open the score. If that title indicates the level of creativity the composer wields, why should I bother? You have to get the singer interested from the title if you hope that they will perform your piece, it is your only introduction to them. Singers tend to think of themselves as artists, you must woo them. Singers who focus on art songs tend to like poetry as well, so be poetic.

Lastly, when registering your works with a performing rights organization (ASCAP/BMI), it is just good business to give your work a distinct label, rather than Untitled #1, #2, #3 or so on.

After listening to the advice of others, go with your own gut instinct. You should resonate with the title. Don’t let others cajole you into doing it their way. I have an electroacoustic piece that I entitle "Frogbot in Love." I love this title, but I had an acquaintance who loved the piece but despised my title. I refuse to change it. That is what the piece is about to me and anything else would be false advertising.