Talking Points: Igor Stravinsky on How New Problems Require New Approaches
In this edition of “Talking Points,” influencial composer Igor Stravinsky shares his thoughts on composition, creativity, craftsmanship, and other topics.
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What We Learned from ‘Composers or Types of Pasta’
Thanks to a hilarious internet quiz, we’ve discovered works from 8 spectacular Italian composers that we definitely thought were types of pasta.
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Reflections on Nico Muhly’s Composing Process
How does composer Nico Muhly stay organized while juggling travel, commission deadlines, meetings, collaborations, and his own creativity?
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An Introduction to Zappa’s ‘Black Page #2’: Modality, Polyrhythms, and Intervals
We explore the fundamental rhythmic, harmonic, and melodic concepts at play in one of Frank Zappa’s most lauded compositions.
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Why Do We Like Sad Music So Much? On ‘Life and Death’ From ‘Lost’
Let’s look at how music can make a song sound sad even when there are no lyrics — and why we like that so much.
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Talking Points: Caterina Barbieri Explains Her Psychoacoustic Approach to Music
In this edition of “Talking Points,” Berlin-based electronic artist Caterina Barbieri explains her psychoacoustic approach to making machine music.
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How to Use 7th Chords in 7 Minutes
Are 7th chords big scary harmonic monsters for you? Here, we go through how to build and use them in a chord progression step-by-step, in 7 minutes.
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Seven Beats to Heaven: Our 10 Favorite Songs in 7/4 and 7/8
Here are our 10 favorite songs written in the time signatures of 7/4 and 7/8. Check out what makes them tick and hopefully they’ll give you some ideas!
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How Do You Make an Audience Feel Nostalgic with Music?
Writing music for a show or film? Check out this beginner’s lesson on creating a sense of nostalgia in your music to fit the narrative.
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Talking Points: Ryuichi Sakamoto & Alva Noto Explain Working with Images and Sound
In this edition of “Talking Points,” composers and electronic artists Ryuichi Sakamoto and Alva Noto discuss the nature of collaboration and improvisation.
