The following is a paragraph from my new book, The Soul of Music
The unique value of the innovative arts is that they can break the mental prison of convention and impart a fresh outlook on life. They teach us to think outside the box of conventional thought and behavior and invite us to lead lives of deeper meaning and appreciate the beauty all around us. There is great excitement in having new experiences, and the opening of the mind to the possibility of the next new experiences.
Tuesday, September 11, 2007
Wednesday, August 29, 2007
Esther Lamneck CD review

The title track, Cigar Smoke alternates sections of composed music with cadenzas in which the clarinetist and the computer respond to each other interactively. The most interesting music in this piece occurs in the heterophonic textures created by the interaction between clarinet and computer.
Musicometry I, incorporates recorded samples of Ms. Lamneck’s prior improvisations made at the composer’s request and direction. Particularly fascinating are the noise sounds made by the clarinet in the initial improvisation and incorporated into the computer music performed against the same sounds played against themselves by the clarinetist in performance.
Trio for Clarinet and Two Computers is a three-movement work which uses two computers, one of which responds to specific improvised clarinet sound events and triggers independent computer music. It represents the most sophisticated use of technology on this recording.
Abyss in seven sections, by Dinu Ghezzo, one of Ms. Lamneck’s NYU colleagues, is based on Milton’s dark theatre play Samson Agonistes. The piece carries an air of Eastern European melodrama (Mr. Ghezzo comes from Romania) and Ms. Lamneck improvises with great abandon here. It retains its emotional impact on repeated hearings.
Event Horizon III explores the sound world of granular synthesis and is the most interesting piece sonically. The composer has incorporated extended clarinet techniques in a cadenza in the middle of the piece.
Lifelines uses intricately interwoven lines between clarinet and electronic music. Particularly effective are Ms. Lamneck’s use of alternate fingerings to create timbre shifts and multipohonics. The tape part has some fascinating percussive timbres.
Crack Hammer provides a welcome sense of fun and humor in an otherwise very serious CD. The composer employs repetitive, additive rhythms with an unpredictable sense of humor. The form and rhythm of this piece were based on a magic square. Ms. Lamneck’s impeccable sense of timing makes the performance very exhilarating.
This outstanding recording (which was funded by the American Composers’ Forum’s Recording Assistance Program) should attract a lot of attention and provide Esther Lamneck (who also is a master of the Hungarian tarogato) some of the rewards she so richly deserves.
Friday, August 3, 2007
Hello,
This is Dary John Mizelle (DJM) with the first posting for the blog musicofourtime OOT. The first request is for comments reacting to a quote of Kyle Gann from 1988 (Village Voice), which is:
"Why is great American Music always the underground, never the mainstream?"
He may not agree with it today. If so, he is free to blog a response. In any case it is an interesting question.
There will be much, much more, along with comments, reviews and opinions.
DJM
This is Dary John Mizelle (DJM) with the first posting for the blog musicofourtime OOT. The first request is for comments reacting to a quote of Kyle Gann from 1988 (Village Voice), which is:
"Why is great American Music always the underground, never the mainstream?"
He may not agree with it today. If so, he is free to blog a response. In any case it is an interesting question.
There will be much, much more, along with comments, reviews and opinions.
DJM
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