the composer essay project

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Caroline Shaw, musician.

By Christopher Mayo Notation is odd.   Musical notation is so ubiquitous that it’s easy to ignore just how odd it is. Not so much the constantly evolving lexicon of actual dots and lines and arcs and squiggles on the +

Looking Back at Orpheus

The Orpheus Project Jocelyn Morlock interviews David Pay August 22, 2014   Jocelyn Morlock:  How was The Orpheus Project born? David Pay: I was in Holland in 2011 and I went to a lot of shows at Holland Festival that +

Nikolai Korndorf: his music and aesthetics

By Jocelyn Morlock I first encountered Nikolai Korndorf’s (1947-2001) music in the listening room of the University of British Columbia’s Music Library in 1999, when a fellow student handed me a disc from Sony Classical called A New Heaven, and +

Jocelyn Morlock

By Frank J. Oteri Like many of the so-called “Holy Minimalist” composers of Europe (e.g. Arvo Pärt, Giya Kancheli, John Tavener, Henryk Górecki, and her former teacher, the late Nikolai Korndorf), Jocelyn Morlock conjures the vastness of eternity through hauntingly +

A Compendium of Ideas About Form in Music

by Jocelyn Morlock For many composers, formal development is the most challenging aspect of writing music. The explosion of musical languages in the last 100 years or so has led to an astounding diversity of formal processes and structures. I +

Schubert’s Winter Journey

by Jocelyn Morlock One of the first pieces of classical music that I got to know, long before I knew I would be a composer, was Schubert’s Der Leiermann (The Organ Grinder) from Winterreise, sung in German by Dietrich Fischer-Dieskau. +

Ana Sokolovic: Made in Canada (sort of)

by Aaron Gervais This is a dangerous way to open, but I’m going to go out and say it: there is something very Canadian about the music of Ana Sokolovic. (Yes, I know she’s originally from Serbia.) By that I +

Kaija Saariaho’s Lohn – an appreciation

by Jocelyn Morlock I first encountered the luminous music of Kaija Saariaho as a student in the late 1990s. Having come to composition from a background as a pianist, (and being decidedly underwhelmed by integral serialism) I was fascinated by +