Douglas Boyce writes chamber music that draws on Medieval and Renaissance traditions and modernist aesthetics, building rich rhythmic structures that shift between order, fragmentation, elegance, and ferocity.  His approach is deeply historical and broadly philosophical.  Many of his works have an direct historical touchstone, such as his  Etude on 'Pymalion qui moult subtilz estoit' (A Book of Etudes, Quire 4, No. 1) which features quotations of and elaborations on music from 15th century Cyprus, or La Deploration for clarinet, violin, and cello, which couples Josquin's lament on the death of Ockeghem with works of his own teacher Robert Suderburg, synthesizing jazz and Renaissance approaches. Other works draw on sources from antiquity, such as the string quartet Alcyone, a partially spoken setting of a tale of Ovid's Metamorphoses, or Tethys, a violin concerto which links the sea-goddess to geological time and tectonic change.
Literature and philosophy are also significant points of articulation: The Winter Journey, a current project commissioned from the ensemble Yarn|wire, is based on a short story by George Perec; the story itself  takes the form of a 19th century fairytale of memory and loss, and so the new composition will involve transformation of the French and German art-song tradition of the 19th and early 20th century. A song cycle focused on settings of American poets (Jorie Graham, BJ Ward, Wallace Stevens) entwines with the poems fragments from philosophers (James, Aristotle, Husserl, Bergson). The piano trio 'Fortuitous Variations' draws upon the language of William James and C.S. Peirce in inspiration, organization, character markings, and movement titles. This approach and the works themselves connect to many aspects of the scholarship in the humanities, including history, anthropology, literary studies, and philosophy. 
His works have been praised many times in the press.  Regarding his Quintet “l’homme armé”, Allan Kozinn wrote “he couches [the medieval melody] in such thoroughly modern scoring that the ear is lured to other things, including the juxtaposition of eerie string writing with playful material for the clarinet and piano, or the lively interplay among all five instruments.” (The New York Times March 12, 2005.) Regarding A Book of Songs (2006), the Stephen Brookes wrote “[they] can only be described as drop-dead beautiful. Easily the most captivating works on the program, these songs of love and death are extraordinarily well written and insightful.” (The Washington Post May 23, 2006)  Regarding La Déploration, Corinna da Fonseca-Wollheim wrote that "...the violinist, cellist... and clarinetist... spread out throughout the crypt. Against vaporous harmonics and ghostly fragments of Renaissance music played by the strings, [a] warm, clear clarinet announced itself as very much alive as it sashayed in and out of blues territory and laughed in the face of their mournful keening." (The New York Times May 17, 2015.)
He has been awarded the League of Composers ISCM Composers Award (2005), the Salvatore Martirano Prize (2006), and the Robert Avalon Prize (2010), and a Fromm Commission (2012). He is a MacDowell Fellow in Winter 2017, and an Avaloch Music Farm Fellow in Fall 2017. His music has been performed by  counter)induction, Aeolus Quartet, Inscape Chamber Orchestra, Redlight Music, Dan Lippel, Robert Baker, Trio Cavatina, Edge Ensemble/Contemporary Music Forum (DC), pianists Ieva Jokubaviciute (Shenandoah University), Alice Belem (State University of Minas Gerais), and Ning Yu; cellists Elise Pittenger (Federal University of Minas Gerais) and Schuyler Slack (Richmond Symphony) and Lori Barnett (George Washington University); and clarinetists David Jones (Washington National Opera), Benjamin Fingland (Dorian Winds).
He is a founding member, curator, and composer-in-residence of counter)induction, a composer/performer collective active in the New York region (www.counterinduction.com).

Music nerd extraordinaire and diligent poster @
http://www.emusers.net/forum/

I am not sure the purpose of Soundcloud. Does anyone get value out of it? It seems the best it can be used for is to put a couple of our songs up and direct people to our real websites and Youtube channels.
Maybe it is for networking with other musicians since it seems most people on here are other musicians. (Not counting the dodgy requests for us to click on links to see some girls pictures and people purporting to promote our music, all of which end up disappearing pretty quick) So, after that and your friends, it is just musicians asking other musicians to listen to their music.
Other than that, there doesn’t seem to be any benefit to this website.
I will keep some songs on here and continue to promote from here but, I think my time is better served on my Reverbnation page http://bit.ly/robertdays-reverbnation , or Youtube http://bit.ly/robert-days , or Facebook https://www.facebook.com/RobertDaysMusic , where I can talk with current and new fans and friends and add videos etc as well.
Thank you to everyone that has subbed me back and I will continue to support others in here but will keep it as less of my main page than my Facebook or Youtube page.

My bandcamp: https://runekjaerrasmussen.bandcamp.com/

'Kaleidoscopic Forests', my poetry collection, can be bought here: https://abeautifulresistance.org/kaleidoscopic-forests

Marina Khorkova studied composition at the National Tchaikovsky Conservatory in Moscow. After her academic work, she received fellowships from the Paul Sacher Foundation in Basel, and the German Academic Exchange Service, to continue her research at the State Conservatory of Music and Performing Arts in Stuttgart, Germany. She has received numerous awards and recognitions, among them from the Oscar and Vera Ritter Foundation, the Lieselotte Klein Foundation Berlin, and the Arts Foundation of Baden-Wuerttemberg. In 2011 she was awarded the DAAD’s Prize for Outstanding Artistic Achievement, and the Ernst-Krenek Prize from Impuls 2011, in addition to a commission for a new work for Klangforum Wien. &#13;
Khorkova’s works have been performed worldwide, by such ensembles as the Klangforum Wien, Thürmchen Ensemble and Ensemble Handwerk (Cologne), camerata variabile Basel, Ensemble Ascolta (Stuttgart), Kairos Quartet and Ensemble LUX:NM (Berlin), the Vinca Quartet (USA), Lyris Quartet (Los Angeles), Ensemble Nostri Temporis (Kiev), Trio Accanto (Freiburg), Archos Qaurtett (Poland), the Studio for New Music, the Mark Pekarsky Percussion Ensemble, the State Academic Symphony Orchestra of the Russian Federation, and the Tchaikovsky Symphony Orchestra (Moscow).&#13;
Her works have been premiered at numerous festivals, most recently the musikprotokoll series with Klangforum Wien at the Steirische Herbst Festival 2012 (Graz), but also the Wittener Tage fuer neue Kammermusik 2012, Darmstädter Ferienkurse 2014 (Staubach Honoraria Preis), Unerhörte Musik im BKA (Berlin), the tonArt-Festival (Esslingen), at the International Conference “Micronality. Praxis and Utopia” (Stuttgart), The New Music Triduum (Krakow), IN-BETWEEN Berlin  St. Petersburg, the Multimediales Festival “Sinfonie der Bilder” (Stuttgart), a double portrait concert as part of the “frau musica (nova)” series presented by Deutschlandfunk (Cologne), the project “Musikalische Lyrik – Das Lied als Experiment” in cooperation with the Neuen Vokalsolisten Stuttgart, and the “Moscow Autumn” festival of new music. Her works have been broadcast by numerous national radio services, including WDR 3 and ORF.&#13;
Marina Khorkova has also given numerous lectures and demonstrations of her research and works, and has been invited as artist-in-residence to numerous institutions, among them at the Tchaikovsky Conservatory Moscow, the Music Academy Basel, and the Academy of Music Krakow.
Fellowships:
2013-Eckrnförde Künstlerhaus Otte
2014-Villa Sträuli Winterthur
2014-Villa Aurora Los Angeles
2015-Akademie Schloss Solitude
2015-Künstlerhof Schreyahn

http://www.compositiontoday.com/interviews/marina_khorhova.asp

Profile photo by © Martynas Aleksa

Each composition is based on the transformation of the various textile patterns or weaves into musical language. The methodology of mapping is concluded in PhD thesis at Durham University.  Textile patterns reflects distinct motions and atmosphere due its different structure and description. Indian ragas serves for the structure of harmony in order to construct a close relationship between sounds and textile patterns. Every Indian ragas has its own time, duration, specific mode of pitches as the textile patterns, which reflect various cultures and weaving methods.

This is my solo project. 
F.P.
All songs are home recorded by myself.
Check also on soundcloud : 
-De Parrot 
-BOAF


artwork by A.Pastori

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