I enjoyed this piece and the chimes added to my music pleasure. 

JH24-2 Aughrim 21-08-1972

As in numerous other political, cultural, and social situations, Turkish Republic’s Westernization program had crucial effects on its musical culture. The ‘polyphonization’ of the then monophonic/heterophonic Turkish music was seen as the way-out from its ‘backward’ origins to its integration to the global musical culture – a modern sound that refers to its roots. 

The title of my piece böcekçe (literally ‘insect language’) is a reference to the 1943 orchestral composition by the Turkish composer Ulvi Cemal Erkin. Erkin’s piece Köçekçe is a dance rhapsody which makes use of numerous folk songs, harmonized and orchestrated in Western tradition. In a way, this is a paradigmatic moment in defining the destiny of a composer in this geography: to think about the technique of the west and the material of one’s own ‘blood’.

My piece is a series of attempts at harmonizing, serializing and deconstructing (all Western techniques) of a made-up melody, trying to put the solution of fusion of cultural elements into question at every moment. 



böcekçe (insect polyphony)

Musicians of the Wellesley Composers Conference. James Baker, conductor. Live performance, 7/23/16.

Snowlight Sketch for sinfonietta (2016)

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Mad Decent and Calypso Rose have hand selected Yaeji, Tony Quattro, Gregor Salto, Aquadrop and Mina for the second set of “LEAVE ME ALONE” remixes out on the label. Korean/American artist Yaeji delivers a stunning edit in her vein of whisper electronica, with Tony Quattro offering a globally influenced New York house rework. Dutch producer Gregor Salto imparts tribal house on the original, before Italy’s Aquadrop and London based Mina each supply unique takes on the track.

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Leave Me Alone (feat. Manu Chao) [Mad Decent Remixes]

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Calypso Rose - Leave Me Alone (feat. Manu Chao) [Yaeji Remix]

Hannah Lash, Filigree In Textile (movement 1)

One of the goals of this piece is to bring various musical dualities into communication with one another. Tonality and atonality exist side by side, pitch is often melded together with noise into a single sonority, sharply formed musical objects are contrasted with nebulous and hazy sounds, and an almost obsessive sense of forward motion and development alternates with a more meandering and capricious flow of ideas.

 I wanted to create a music that sounded simultaneously familiar and unfamiliar in a way that mimicked the flow of a dream. While dreaming we obtain an incredible openness, implicitly accepting every image or event without judgment. It is only upon waking that we realize the strangeness of our dreamworld, which has already become a quickly-fading memory. My compositional process was guided not by a desire for narrative coherence or a structural rigor, but rather by a complete acquiescence to the sense of flow: the forward motion that guides us through the labyrinth like a thread.

Premiered in Chicago by the Grossman Ensemble on March 15th, 2019, at the Logan Center for the Arts

Grossman 20190314 mix

Dream Labyrinths--for twelve players

Piece no. 3 from the Piece-a-day project at the Tanglewood Music Center.
Flute: Johanna Gruskin
Clarinet: Matthew Griffiths

2019-08-17 0230PM CD1

Figment III: Waltz

Written for PinkNoise
Roberta Michel (flute); Eric Umble (clarinet); Johnna Wu (violin); Isse Herr (cello) Han Chen (piano)
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I am fascinated by the physical and psychoacoustic properties of sound. duality ii is one of several pieces I've been working on lately that specifically concern the rhythm-pitch duality; that is, a pitch, when slowed down enough, becomes a rhythm, and a rhythm, when sped up fast enough, becomes a pitch. This physical principle is literally presented and symbolically represented throughout the piece by means of shaping sounds in ways that may reveal their physical phenomena and make them perceptible. However, the goal is not to know exactly the processes underpinning the music; rather, the goal is to feel the overall physicality of the sound itself.

duality ii - ensemble and electronics

South African House, meet the Queen of Soul.

Dream Labyrinths--for twelve players

Jack Hughes

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