 WALTMANSEARLY AND CONTEMPORARY MUSIC |
|||||||
|
|
home | links | contact | ||||
|
musicians composers interviews masterclasses competitions festivals writings cd's cdarchive |
|||||||
 |
|||||||
|
|
JEREMY SAGALA (US) When composing, I face each work as a sculptor approaches an untouched stone—just as millions of forms are present in the stone, a blank manuscript paper contains all music, waiting for the composer to shape it, to draw it out. I am guided by the inner drive to gain access to deeper and more profound musical experiences, to carve deeper into the stone, and ultimately present them to the listener. This pursuit has led me to the study of sound from the inside, and to a fascination with the phenomenon of simultaneous levels of perception. At once, a single sound can suggest a timbre, a harmony, a rhythm, a form. A study of psychoacoustics has raised several important questions for me about my relationship with “the audience”, and my work over the past several years has been informed by this research. An immediately apparent musical concept found in all my work is that of perceptual saturation, where sound elements (pitches, harmonies, timbres, rhythms) change at such a rapid rate as to create a blurring—this is extremely attractive to me. The discrete elements are then perceived as a unit, and can be recombined with each other to create a “blurring of a blur”. All of these ideas are projected in a way in which the surface of the work is as rich and interesting as the interior. JEREMY SAGALA. Composer and conductor Jeremy Sagala (B.M., M.M., M.A., Ph.D.) has been commissioned and performed by such performers as the New York New Music Ensemble, the Lydian Quartet, David Fedele, DoublePlay, the Washington Square Contemporary Music Society, Steve Beck, the ACME Ensemble, and many others. His music has been described as 'incredibly elegant' with 'gorgeous pitches and lovely orchestration'. A fascination with the fluidity of musical narrative is apparent in each composition, and he strives to create an experience in which the listener is thoughtfully guided through vivid musical space. While primarily an acoustic composer, he has produced several electronic works, a medium well suited to the delicate and precise textures found elsewhere in his compositions. His book “Form and Materials in Davidovsky's "Flashbacks" is published by VDM Verlag of Germany. He has taught at Brandeis University, Northeastern University, and currently Southeastern Louisiana University. www.jeremysagala.com |
|
|||||
