Every now and then, I find it very refreshing to read how other
composers go about their craft. What is their process like? How do they make
decisions? Does anyone else still use pencil and paper, or have people moved to
composing digitally from the start?
In this blog, I explore two fantastic books that I’ve found to be immensely
helpful in gaining insights on the processes of other composers; in a later blog, I will explore
two more. All four are compendiums of composers covering a wide gamut of styles
and approaches, and they are also all relatively recent.
The Muse That Sings: Composers Speak about the Creative Process
Oxford University Press, 2003
Writer Ann McCutchan interviewed twenty-five composers for this
book and presented them from oldest (born in 1930) to youngest (born in 1960).
The composers she chose are accomplished and eclectic mix, including William
Bolcom, John Corigliano, John Harbison, John Adams, Claude Baker, Dan Welcher, Shulamit
Ran, Steven Stucky, Libby Larsen, John Zorn, James Mobberley, Richard
Danielpour, David Lang, Sebastian Currier, and Aaron Kernis.
Her book stands out to me for two reasons. First, she writes each
interview as if it were a monologue written by the composer him- or her-self.
Gone is the Q&A format that I’ve read in other composer compendiums, which sometimes
comes across as slightly tedious. Instead, it feels as though the composer is
speaking directly to the reader, creating an unexpectedly intimate experience. McCutchan
has done a remarkable job disappearing into the personality of each composer,
leaving the reader to feel like a fly on the wall who is unobtrusively
observing the composer at work.
Next, the composers go in-depth as they describe their compositional
process. They talk about their organizational practices via note cards and
colored file folders; they describe daily rituals and routines they go through
to compose; they relate their innermost fears of failing to produce a
well-written piece. Also intriguing are the details composers give on specific
works they’ve written; for instance, John Corigliano’s description of how he
devised ghost music for the opening scene of his opera The Ghosts of Versailles is wonderful food for thought on how to achieve
a range of timbres. I’ve used this book in numerous classes for undergraduate
composers, as it serves to quickly open their minds to a plethora of compositional
methods that the students can explore. This book works particularly well when
we follow up our in-class discussion of each composer by studying the works
that the composers analyze in their chapters.
Composition in the Digital World: Conversations with 21st-Century American Composers
Oxford University Press, 2015
Raines interviewed twenty-eight composers, whom he divided into
four groupings: well-established, up-and-coming, those who came to the U.S.
from other countries, and radical innovators. These designations yield an
intriguing mixture of composers covering a wide range of aesthetics and
approaches. His interviewees include Martin Bresnick, Michael Torke, Jennifer
Higdon, David T. Little, Kevin Puts, Mohammed Fairouz, John Anthony Lennon,
Chen Yi, Daniel Wohl, Eve Beglarian, Pamela Z, and Eric Whitace. Additionally,
he interviewed several of the same composers that McCutchan did, including
Michael Daugherty, Steve Reich, Libby Larsen, Aaron Kernis, Joan Tower,
Christopher Rouse, and Bright Sheng. As the books are separated by twelve
years, the reader gains a deeper understanding of how these particular composers
and their composing methods have evolved over the intervening years.
Raines has two main goals for his compendium: first, these are not
“academic essays” but rather informal conversations. This allows the
discussions to be far-ranging, based on each
composer’s unique character. Raines is a composer, which bodes well for his
interviewees as well as for the readers. His chapters read like loosely
structured, casual conversations between the composers and himself. Topics span
from their compositional processes and how they use technology to their views
on the declining situation for record companies, as well as how a composer can
continue to make a living in a world that is growing accustomed to accessing
music for free.
Next, Raines frames the conversations on how the digital age has
affected each composer. This covers a wide range of uses for technology from
the smallest amount possible to all-encompassing, depending on the composer: only using a computer to send email; having their
music on SoundCloud or YouTube; using
composer software to notate acoustic pieces; utilizing computer programs to create
electronic works; incorporating technology into performance art; creating an
online presence; sending scores and recordings electronically to performers; creating MIDI files to help performers learn new works; and
so on. As Raines points out, we have all been touched and changed by the advent
of digital media. So, how are we, as composers, adapting to it?
Additional Resources
Both books offer additional resources for the reader to explore. McCutchan
asked each composer to choose several pieces that they feel are seminal in
their output; she lists these works by category (small ensemble, large
ensemble, stage, etc.) at the end of each chapter, along with a list of
selected recordings. Raines also asked each composer to supply a list of works,
although he required each composer to cap their list at twelve pieces; this
requirement helped the composers focus on what they each consider to be the
most important works in their output. Raines took full advantage of the digital
age and asked each composer to supply additional materials for a companion website; each composer has a dedicated chapter that corresponds with the chapter number
in Raines’ book. The content of the website ranges from videos and audio files
to scores and program notes.
Both books are tremendous resources for composers of any age. I’ve
found myself referencing Ann McCutchan’s book many times over the past decade,
gaining fresh insights from the composers and questioning my own compositional
process by studying the processes of others. I suspect I’ll be doing the same
with Robert Raines’ book for many years to come.