Jonny Greenwood never wanted to be a rock musician; he wanted to be a Renaissance man. Surrounded by his standard rock instruments like guitar, keyboards, xylophones, transistor radios, and synthesizers, Greenwood is known for his ability to play the ondes Martenot, one of the earliest electronic instruments. He is one of the fewer than one-hundred people in the world who have mastered it, which he has incorporated not only into the music of Radiohead, but in his soundtracks and pieces. Continue reading “Polymorphia and 48 Responses to Polymorphia”
A couple of weeks ago, I went to Harvard’s final Group for New Music concert of the academic year. The entire program was full of inventive and inspiring works, showcasing the raw talent of a few of the PhD candidates in composition at Harvard. The piece that struck me the most was the first piece on the program, by Sivan Cohen Elias.
Tonight’s Night Song on Garden St featured Beneficia Lucis, an ensemble of men, directed by James Busby. Night Song is a recurring event held at the First Church in Cambridge, meant to be a non-denominational invitation to join in listening and reflecting. Continue reading “Busby’s Beneficia Lucis Hits Garden St”
You might read this blog and assume that I really, really hate popular music. I don’t. That’s not the case at all. In fact, the only reason that I started studying music in the first place was because of popular music. When I started playing piano at the age of 13, it was because I wanted to “be good enough to play Bohemian Rhapsody on the piano.” I wasn’t even all that fond of piano at first, not taking it entirely seriously until one summer when I took a break from lessons and learned the entire three-book volume of the score to Howard Shore’s Lord of the Rings. (Nerd alert.) Continue reading “On Hating Popular Music”