I watched the Masterclasses of 10 artists and boiled down what I learned into some generalizations about the creative process.
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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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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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It took me six years, but I can finally answer your burning questions, like: Should I pursue a doctorate in music? What even is a doctorate in music?
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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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Most of the press is quick to tout the needle-in-a-haystack aspect of Zachary Turpin’s research. However, a relentlessness belies this air of serendipity around his literary discoveries.
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