(download article in pdf) In an essay titled “I Want to Find The Music, Not to Compose It”, Tom Johnson writes about a type of musical minimalism he remembers as “process music”, saying that “in [all] these cases the “composers” …
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In this article, centered on my work Tramespace I (2012–13), I elaborate on my thoughts about music from philosophical and musical perspectives. Behind my perspectives is the idea of a “metaphysical space in music composition” that acts as an anchor for these ideas. This “metaphysical space” is a major concept in my doctoral dissertation at Columbia University. However, throughout this lecture I do not refer explicitly to this concept. Instead, two consequential aspects of this metaphysical space are emphasized throughout: (1) the act of composition is not just an act of writing and expressing but also, as soon as the writing takes place, one must engage him/herself in the act of listening; and (2) because of (1), the aspect of the “self” that is engaging-in-(1) is illuminated. Which leads to the existential question: “who am I (who composes)?”
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My house in a score

Cecilia Arditto


Action Time

Samuel Vriezen


Vectorial Harmony

Goncalo Gato



Cathy van Eck


Stay Still

Marc Sabat


tags: Marc Sabat

With his well known story about two sounds heard in an anechoic chamber, John Cage reminds us that there is no actual silence where listening (namely the phenomenology of sensing or hearing vibration) is taking place. Two remarkable observations follow …
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Click here to enter. Composition: Yannis Kyriakides Images: Isabelle Vigier Text: Thomas Platter, Travels in England (1599), English translation by Clare Williams, Cape (London: 1937) Commissioned by Sound and Music, March 2009 First publication The Ear reader, November 2010
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