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

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)

World premiere by the Louisville Orchestra (Lisa Bielawa, voice) on July 4, 2023.

In Memory’s Safe is a piece inspired by my visits to Somerset, Glasgow, and Bardstown, Kentucky during the early Spring of 2023. During these visits, I met with people from each community to ask them what tunes, songs, hymns, or musical traditions they felt represented them and their communities. What I learned was that my question stemmed from an erroneous assumption that there were unifying traditions or tunes that broadly represented each of these towns and the people who lived in them. Instead, we had conversations about the confluence of several influential traditions and styles that groups of people from these communities might identify with. During two of the visits, people performed some of these songs for me. I came away with a long list of songs and tunes to listen to, new friends, and a deeper understanding of these communities in my hometown state. Perhaps most importantly, I realized after posing this question to so many people that I didn’t have a good answer to it myself. I was forced to investigate my own relationship to the music I find foundational to me, my state, and my community and the ways I do and do not engage with it. This understanding, along with the encouragement of Somerset-based artist Dan Dutton, led me to the final form of this piece. I present In Memory’s Safe as my response to the tunes I collected featuring orchestral textures and gestures imbued with my own Kentucky voice. 

The tunes used are: 
I.	Lord Bateman – traditional ballad via Dan Dutton 
II.	Grapefruit Man – original song by Daniel Stroud (used with permission). 
III.	Maria’s Gone – traditional song via Carmel Bowman 

Lastly, the title In Memory’s Safe suggests the existence of an actual safe where memories can be kept. We hold the traditions, influences, and music at the core of this piece safe in our memories—we are Memory’s Safe.

Tyler Taylor - In Memory's Safe: IV. "Maria's Gone" (excerpt)

World premiere by the Louisville Orchestra, Lindsey Branson (guitar and voice), Renee Chapman (voice), Tessa Lark (violin), Scott Napier (mandolin), Dean Osborne (banjo), and Paul Wooton (violin) on May 17, 2023.

Our new piece, “Home,” has had a variety of homes. Before starting my tenure as one of the Louisville Orchestra Creators Corps members in September, making my home for a year in Louisville, I had never been to Kentucky before. My only direct connection to the traditional music of Appalachia, which – as a former violinist myself – I had always admired and enjoyed, was through my friend and colleague violinist Tessa Lark, who was born and raised in Lexington, KY, but ended up in my life, many years later, because she was living on my floor in my building in Manhattan. (She reached out via email one day, having seen my name both in a professional context and on a package delivered downstairs, saying, “I think you live in my building!” …and sure enough, there she was: we could wave at each other through our windows, across the air shaft.) 

When I got the opportunity to come to Hazard, KY, this Spring to open my ears to the music happening there, I reached out to Tessa in advance for a listener’s/composer’s guide. Thanks to the Appalachian Arts Alliance and its director, Tim Deaton, I met Lindsey Branson, a graduate of the Bluegrass School, Director of Education at the Arts Alliance, and a brilliant singer-songwriter. We went as a team to the Bluegrass School, where I was welcomed into a weekly song circle that called themselves Mountain Traditions, and I learned some songs from these esteemed veterans first-hand. In the midst of it all, I met mezzo-soprano Renée Chapman, whose luminous voice is well-known through her role in choral and classical music-making in Hazard, also a vibrant part of Hazard's musical life. At the end of the trip, after hearing her sing some of her own songs at the local pub, Lindsey spoke of her musical inspirations in ways that resonated for me, like the pervasiveness of a kind of yearning that evokes both placelessness and nostalgia. Over the next weeks, I shared some of my own music with her, and she responded in words and melodies that I then wove together in an orchestral language, incorporating parts for both Renée and Tessa while leaving room for Lindsey to continue developing the melodies in collaboration with traditional music colleagues in Hazard. – Lisa Bielawa

Home is a word many people can relate to. Most think of a physical place, but home isn’t always that. Home is a feeling, a person, a song, and it’s within you. This piece is about longing for what home means to me. – Lindsey Branson

LYRICS by Lindsey Branson

I’mma Goin’ Home. 
I’mma Goin’ Home. 
It’s the place that I call mine, the sun always shines.
I’mma Goin’ Home.

I’mma Goin’ Home.
I’mma Goin’ Home. 
It’s a feeling I can’t forget, to live without regrets.
I’mma Goin’ Home

I’mma Goin’ Home. 
I’mma Goin’ Home. 
Where the River Flows, where I can sing my woes.
I’mma Goin’ Home.

Let’s go home. Let’s go home. 
I’mma 
Goin’ Home.

Lisa Bielawa/Lindsey Branson - Home (excerpt)

I. Resounding 
II. Dust
III. Broader than the original. 

Modus operandi is a piece who’s procedures and musical materials are inspired by many of my earlier works. This conscious revisiting and recontextualization of earlier ideas is the main reason for the title.

Resounding plays on both the definition meaning emphatic but also to literally sound again. This movement draws heavily on the musical figuration employed in my piece Liberation Compromise for 17 players. 

Dust aims to capture both the idea of something mundane - muted and melancholic in mood - and also the idea of a much lighter remnant or residue left over from something else. This piece draws from the slow movements of my Quintet for Winds, Encompass, and Lake Music. 

Broader than the original is a rough translation of the marking “noch briefer all su Anfang” from the Adagio of Mahler’s Symphony No. 9. It occurs when the tutti horns play an elaboration of the main melody – a moment which has resonated with me for quite some time. It is not my intention that the horn line be heard and recognized – it is there as a point of reference. In this context, the weaving of this line into my musical fabric is taken to its highest level adding another layer of meaning to the title.

Modus operandi for mixed octet(2019)

«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

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).

Modus operandi for mixed octet(2019)

Tyler W. Taylor

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Tyler W. Taylor

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