Resonate Feature Articles
In-depth articles discussing issues relating to Australia's new music scene - you can also browse our archive of all feature articles.
by Anni Heino
Composer Haydn Reeder talks about his recent compositions for string quartet, as well as his work process and some of his earlier pieces. Melbourne-based Reeder turns 70 on 27 February 2014.
by Leah Barclay
"The fact that we live in such a visually dominated society means we often neglect our auditory perception, yet it provides us with more information about our surrounding environment than any other sense", writes Leah Barclay. Her long-term interest in the role of sound in generating environmental awareness has taken her and her recording equipment to far-away places and communities, from the Amazon Rainforest to the rivers of South India, and gradually changed her perception of what being a composer means.
by Julian Day
It’s 4am and I can hear the ocean. Actually that’s unlikely as I’m several kilometres away near the city. But it’s early enough for cold air to carry the sound of waves.
I’m sitting in the Victorian terrace that once belonged to composer Peggy Glanville-Hicks. It’s far too big for me, even by Sydney’s warped standards; I guiltily use the front room to store paperwork and try to sleep in each bedroom in turn. But the grandeur has given me a boost, the encouragement that being a composer needn’t mean share houses or one-room apartments. For at least twelve months...
by Philip Cooney
'I find composing a compulsive but exhausting and emotionally draining occupation, but my enthusiasm hasn't waned', says composer Ross Edwards, whose 70th birthday is celebrated on 23 December 2013. In this feature article, Philip Cooney, who has researched and written extensively about Edwards's works and knows the composer personally, looks at Edwards's compositional process, the inspiration behind his music, and its relationship to postmodernism.
by Warren Burt
'We’ve reached a kind of technological music utopia. We’re daily surrounded by ideas, and gear that implies ideas, and gear that can realise ideas – all at prices that a poor person can afford. That’s lovely. What is not lovely is that we didn’t realise that when we reached the future, there would be so little place in it for us. For what hasn’t changed for us, since the 1960s, is where we are – what our position is in relation to the larger world of music. As Ben Boretz phrased it, so eloquently, we’re "the leading edge of a vanishing act". We’re a fringe activity to an economic juggernaut.'
This is how composer-performer-artist-writer Warren Burt saw the lot of a computer musician a few months ago in his keynote address for the 2013 International Computer Music Conference in Perth...
by Peter McNamara
Composer Peter McNamara writes about extending his palette of timbres by combining live instruments with pre-recorded electronics in his works Landscape of Diffracted Colours, Krazny and Amplitude - a new work to be premiered by percussionist Claire Edwardes in Sydney's Campbelltown on 16 November.