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“Half Here, Half Home” is an attempt to make musical environments. The first installment of this series, “Portrait of the Hudson Valley,” was a musical installation involving Max MSP and pre-recorded music of piano, cello, clarinet, electric guitar, voices, and field recordings. The second installment, “Portrait of Tidewater, Virginia,” of this series is four compositions for piano, cello, clarinet, electric guitar, and field recordings. Both portraits are an attempt to bring the outside environment of these locations quiet nature into an indoor space.
My compositions do not follow standard notational form. For “Portrait of the Hudson Valley” the pieces were composed entirely in Logic Pro X. For “Portrait of Tidewater, Virginia” the compositions are a combination of standard notation and written instructions. In “Portrait of Tidewater, Virginia” each instrument of the ensemble has piece in which it is the lead. The lead parts are written in standard musical notation. The ensemble parts are written as parameters for improvisation.
I am inspired by composers Michael Pisaro, Erik DeLuca, K. Leimer, and Midori Takada. In my opinion, all of these composers beautifully connect sounds created by nature and sounds created by instruments. As a composer I am interested in the ways of creating musical texture through both standard notation and pre-recorded music. More importantly, though, I see the act of composing as an agreement between composer and player, and composer and audience. Therefore, it is my aim to write music that allows for a creative input and interpretation on behalf of the ensemble players, that also pleases the audience.
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Knight, Nora Ann, "Half Here, Half Home: Musical Portraits of the Hudson Valley and Tidewater, Virginia" (2016). Senior Projects Spring 2016. 181.
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