Featured Articles
Graham Flett FULL-TEXT AVAILABLE IN PRINT EDITION ONLY Trying to get to the heart of Graham Flett’s musical style is a slippery task. “I have a variable aesthetic,” muses the tall, lean, shaggy-haired composer sitting across from me in a modern[...] Read more
Eve Egoyan and David Rokeby's Surface Tension Surface Tension is a thirty-five-minute collaborative interarts work that the two of us (pianist Eve Egoyan and installation artist David Rokeby) created for Disklavier piano and interactive video. The piece explores the relationship between what we do separately in our respective[...] Read more
BLACKOUT MUSIC Deep black space is speckled with birdcalls and falling water until an ominous boom looms and the drumming of rat-a-tat-tat - insect infestation or insistent rain - is jarring and subsides in the darkness a piano perforates the heavy steely[...] Read more
Demian Rudel Rey’s "Theophilus" Argentinian composer and guitarist Demian Rudel Rey has received numerous awards and honorable mentions in various national and international composition compstitions, and his pieces have been selected and programmed at prestigious festivals across Europe and the Americas.[...] Read more
Darsha Hewitt Following the work of Darsha Hewitt is like feeling your way through the inside of an electronic circuit. It is tactile, visceral. Her trial-and-error approach comes from a truly experimental place, and during my conversation with her, I suggest that I have imagined her jotting down[...] Read more
Mariana Vieira’s The Unexpected Encounter with Diversity Electronic music has the potential to free composers and sounds from physical and cultural constraints while also bringing those elements closer together. Composer Mariana Vieira has been exploring ideas in this creative space since her undergraduate studies in composition at Escola Superior[...] Read more
Bug Incision: Calgary’s Cross-Pollination Buzz The world of free improvisation is like a parallel universe, a global underground community of nonidiomatic soundmakers, recording with each other in every imaginable permutation, connected via a proliferation of text- and link-heavy Web 1.0 sites, DIY venues, and CD-R labels, with a[...] Read more
Yves Charuest and The Existential Act of Improvisation In the fall of 2016, I attended Montreal rehearsals and concerts and Toronto recording sessions of Roscoe Mitchell and the Toronto-Montreal Art Orchestra for a feature article that was published in Musicworks 127. This complex, largely through-composed music—Mitchell’s[...] Read more
Myriam Bleau spins Soft Revolvers In a darkened room, an artist is manipulating four translucent circular objects on a tabletop, moving from one to another. Audience members gather around. The objects emit light. Their spinning motion activates deep tones and beats that crackle and whir, and snippets of voice that drop in[...] Read more
What's Inside Musicworks 131 - Fall 2018 Musicworks 131 is the second issue of our 40th anniversary year, featuring artists who are active in interarts, DIY culture, collaborative composing, and more! Buy the print issue (or print + CD combo!) from our shop or start your subscription with the Fall 2018 issue. ON THE COVER[...] Read more
Ana Sokolović wants you to enjoy her imagination “Perhaps being old is having lighted rooms / Inside your head, and people in them, acting.” These lines from “The Old Fools,” English postwar poet Philip Larkin’s fearsome ode to aging, sparked Montreal composer Ana Sokolović’s full-[...] Read more
The Warp and Weft of Kelly Ruth In the history of musical instruments, the questions asked are pretty standard: Who played it? What did they play? How did it evolve? Kelly Ruth’s instrument, the weaving loom, carries an entirely different kind of history. It brings to mind mythology, solitary artisans, beautiful[...] Read more
- 28 of 34
- « first
- ‹ previous
- next ›
- last »