Nick Burke is one of my deepest friends.

https://nickb.bandcamp.com/album/cloutberries

There are wavelengths outside of the visual light spectrum. Sight is a stimulation; thought produces wavelength. "As above, so below". You are as big as you want to be. I try to wear humility more fashionably everyday.

Ego Mountain

This recording was created as part of the 2021 June in Buffalo Festival, with each performer recording individually and remotely during the COVID-19 pandemic. Ensemble Signal, Brad Lubman, conductor; Kelli Kathman, flute; Adrián Sandí, clarinet; Lisa Moore, Piano; Courtney Orlando, Violin; Lauren Radnofsky, Cello. Sound Engineering, editing, mixing and mastering by Paul Coleman.

Read the preliminary essay here:
https://bit.ly/3gFOwAo

Currents | Ensemble Signal

Tyler Taylor is a dear friend of mine. 
He is apart of the Virgo Digital Bouquet push.  Tyler is a composer. We have worked extensively together for years keeping each other accountable as we learn new techniques in how to interface with creation.

(stamps)
3:35 conversation 1 over the Louisville Orchestra premiere. "Do You Really Want to Know?" 

16:40 Sasha Chi excerpt 1

17:40 conversation 2 over the creative process of Sasha Chi (September)

29:40 Sasha Chi excerpt 2 [expose the Crunchy Burnt Dragon scene]

32:37 conversation 3 - accessibility of composition through the lenses of the audience, the performer, & back to the composer
(April or June one of the two -  can't remember)

Sasha Chi
https://xoladash.bandcamp.com/track/sasha-chi

"...Do You Really Wanna Know?..."
https://soundcloud.com/tyler-w-taylor/do-you-really-wanna-know?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

https://www.youtube.com/channel/UCLQkJKD91K9zW4WjW3_uTGg

WEBSITE
https://www.tylertaylorcomposer.com/

X O L A

Composer ChiTea

slay ride

romeo x doja cat

ensemble: flute (doubling piccolo), english horn, horn, viola, & piano
duration: 5 minutes
written: summer 2020

more info: http://www.robertrankinmusic.com/the-...

Note:
The title, The Economies of Action, is a term penned by the Harvard business professor Shoshana Zuboff in her 2019 book The Age of Surveillance Capitalism. In it, Zuboff explores how big tech, by harvesting vast amounts of user data, is creating an economy based on individuals performing speciﬁc actions. With this data, companies can nearly guarantee individuals will perform these desired actions. I used this piece as a sort of “testing ground” for musical ideas which were used in another Zuboff-inspired piece written for the Illinois Philharmonic, Make Them Dance.

The Economies of Action is in two short, unbroken sections: the ﬁrst, a sinister bit of murmuring which gives way to a long, melismatic line that envelops the ensemble; the second, a free, quasi-pastorale centered around a viola recitative. The piece ends with the music from the ﬁrst section coming back again, completing a cycle that can’t truly be broken.

The Economies of Action: for five players

Commissioned by the Louisville Orchestra September 2021. This recording is of the University of Louisville Symphony Orchestra from February 2022.

This piece is a reaction to the text “American Dream” by Tytianna Wells. In her poem, Wells addresses many inequities and injustices black people face in America, the perpetuation of these ideas, and the necessary action to confront them. The text carries emotions ranging from frustration, disappointment, jaded exhaustion, to cautious optimism. My piece does not try to recreate Tytianna’s text line for line but instead creates spaces in which this array of emotion can be expressed, experienced, and reflected upon. 

The piece begins with a melancholic line played by the violas and various winds. As the piece progresses, other voices begin to join and overwhelm the opening line. This culminates in a great release of energy and a brief moment of repose before the piece lurches forward into an aggressive finale. The line from the opening of the piece is presented in full force and with renewed vigor by the horn section against a scathing snare drum solo. 

As a person of mixed-race (my father is black and my mother is white) this subject is particularly important to me and manifests in various ways at the core of my other work. Many thanks to Tytianna for her powerful work and to the Louisville Orchestra for this opportunity.

UofL Symphony Orchestra

"...do you really wanna know?..." (2021)

ensemble: chamber orchestra (1[picc].1.1.1-2.1.1.0-2perc-strings)
duration: 10 minutes
written: fall 2019 - winter 2020
commissioned by: Durham Symphony Orchestra
premiere: April 10th, 2022; Durham, NC

more info: http://www.robertrankinmusic.com/no-name-in-the-street

Program Note:

       Reap they the field that is none of theirs, strip they the vineyard wrongfully seized from its owner. 
                           - Job 26:4

       As a life long resident of the Raleigh-Durham NC area, I was shocked that I had never heard about the history of Durham’s Hayti District. Founded as an independent black community after the Civil War, the Hayti District operated libraries, hotels, theaters, and a hospital becoming one of, if not the first, fully self-sufficient African-American community in the United States. Hayti continued to prosper throughout the 20th century until the 1950s with the urban revitalization of Durham which constructed the Durham Freeway directly down the middle of Hayti, splitting it in two. 
	
	My work, No Name In The Street, borrows its title from James Baldwin and is, in essence, about the history of Hayti. The piece begins with a long melodic solo line in the strings (based upon spelling the word HAYTI into musical pitches). This “Hayti theme” grows and fleshes out into a broad, sweeping statement. This moment is slowly taken over by the brass and winds which begin to distort and obscure the theme. The theme, now abstracted by the winds and brass, only occasionally can be heard. The piece reaches a great climax and is abruptly cut off.  The “Hayti theme” is now heard in its most clear and intimate form played by a solo string quintet. Slowly, over time, the theme begins to get erased by the orchestra, note by note, until one solo viola is left trying to sing out.

	No Name In The Street is, more broadly, about the erasure of history and communities and the importance of keeping the past alive even when forces greater than us attempt to eliminate them. 

WUNC, the local NPR station in the Raleigh-Durham area in North Carolina, published a magnificent investigation into the housing crisis: https://wunc915.atavist.com/where-we-live

No Name In The Street: for chamber orchestra (excerpts)

«Ruido, ceniza» (2020) [studio recording]
morphisms for one or more amplified string instruments

Viola: Estéban Hernández-Parra

Written for and commissioned by Estéban Hernández-Parra

Audio editing, mixing and mastering: Felipe Tovar-Henao

February 17, 2020.
@ CECM, Jacobs School of Music
Indiana University
Bloomington, IN - USA

Official website: www.felipe-tovar-henao.com
Soundcloud: @felipetovarhenao
Facebook page: www.facebook.com/felipe.tovar.henao/

«Ruido, ceniza» (2020) morphisms for one or more amplified string instruments [solo viola]

«Ataxia» (2019) [studio recording]
for English horn and live electronics

English horn: Jake Gunnar Walsh

Written for and commissioned by Jake Gunnar Walsh

Audio editing, mixing and mastering: Felipe Tovar-Henao

April 28, 2019.
@ CECM, Jacobs School of Music
Indiana University
Bloomington, IN - USA

Official website: www.felipe-tovar-henao.com
Soundcloud: @felipetovarhenao
Facebook page: www.facebook.com/felipe.tovar.henao/

«Ataxia» (2019) for English Horn and live electronics

«Paroxismos» (2019) [live performance]
mosaic on violence for chamber ensemble

Written for and performed by Sound Icon.
Commissioned by SCI/ASCAP

Audio editing, mixing and mastering: Felipe Tovar-Henao

March 29, 2019.
@ 2019 SCI National Conference
University of New México
Albuquerque, NM - USA

Official website: www.felipe-tovar-henao.com
Soundcloud: @felipetovarhenao
Facebook page: www.facebook.com/felipe.tovar.henao/

«Paroxismos» (2019) mosaic on violence for chamber ensemble

Tyler Taylor (1992) is a composer-performer from Louisville, KY. Much of his work is dedicated to creating abstract musical analogies for social-political happenings both present and past. Common among these pieces is a sense of contradiction – sometimes whimsical, sometimes alarming – that comes from the interaction of diverse musical layers. 
​
Tyler is currently a full time resident composer at the Louisville Orchestra as part of the inaugural installation of their Creators Corps residency program. In this role Tyler not only writes music for the orchestra but also works closely with community organizations, schools, and programs in the city of Louisville. He established and taught the Louisville Orchestra Young Composer Program for JCPS students grades 4-12 where students had new compositions workshopped and performed by members of the LO. 
​
He has been commissioned by the Louisville Orchestra, Washington and Lee State University, the Youth Performing Arts School, the Chicago Composers Orchestra, the Indiana University New Music Ensemble, the Indiana Band Masters Association, the National Orchestral Institute, and more.
​
His work has been recognized by awards including the BMI Student Composer Award (2019) and the Howard Hanson Ensemble Prize (2017, 2016). He also held fellowships at the Bowdoin International Music Festival (2021) and the National Orchestral Institute (2021). Most recently, his dissertation “Permissions” for large symphony orchestra was selected for performance during Indiana University’s annual New Voices Orchestra concert on 11/16/22.
​
In addition to his pursuits in composition, Tyler also performs the horn in various settings ranging from recitals of contemporary music to professional orchestral settings including the Columbus Indiana Philharmonic, Huntington Symphony, Louisville Ballet and the Owensboro Symphony. He maintains a studio of young horn players in Louisville and southern Indiana.
​
Tyler holds degrees from Indiana University (Doctor of Music with minors in Music Theory & Horn Performance), the Eastman School of Music (Master of Music), and the University of Louisville (Bachelor of Music).

"...do you really wanna know?..." (2021)

Tyler W. Taylor

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