The problem of the torso— the root of everything cut off from everything— gives us an oblique way to think about music whose form is simultaneously so contained and yet chaotic.
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For a concert in a unique venue, I wrote a program note in the form of an extended simile of faces and walls.
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When I started getting curious about meditation, I was searching for concrete answers to questions like: What’s the point of this? How do I do it? How do I know it’s working?
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Editing the 2018 trailer for "On the Threshold of Winter" was an exercise in remixing Michael Hersch with Michael Hersch.
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Working with director John Belanger, I confronted two linked questions. How should a composer think about sound design? And, how should a sound designer think about music?
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