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The MUSELETTER of SONGCRAFTERLIZ

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Oct 16 2016

WARNING: This is a seriously geeky article which may fry the brain of an unsuspecting music lover. Alternately, it may serve as a small glimpse into the less romantic side of being a composer-publisher.

Apr 14 2016

I'm not one of those composer/lyricists who can write a song in one day. If I'm really on a roll I might draft 90% of it, but it may take a steamy shower two days later to make me realize that the chorus needs one more phrase. It may take a frustrating car trip to make me realize that a song has more expressive potential than I thought. And every once in a while, it takes significantly more than that. Until I wrote Grace, I didn't know how much more.

Mar 24 2016

A change in a society’s consciousness usually happens slowly, over decades or centuries. So when I see such a shift happening faster than that, I sit up and take notice:

Feb 16 2016

Late last night I was surprised and saddened to learn about the death of Steven Stucky, my primary composition professor at Cornell University. When I told my husband, he asked, “Did you ever get to tell him the story about that composition lesson?” I had to admit that I hadn’t. It wasn’t exactly the kind of story one relates in a concert hall lobby after an orchestral premiere, which is the last time I’d seen Steve.

Aug 08 2015

Last year I decided to join my church’s women’s choir, not because I wanted to sing, but because I wanted to hang out with the cool women in the choir.

Jun 17 2015

A few years ago I came across a delicious article by Mark Morford entitled “How To Sing Like a Planet” about something called “the Earth’s hum.” Apparently the Earth generates an unfathomable number of mysterious vibrations, and no one’s quite sure what creates them. Morford’s article is part science and part roller coaster ride, a wild riff on the notion that this hum is the Earth’s music.

Jan 13 2013

Nancy Menk interviewed thirteen composers for her article, "Writing for Women’s Voices: A Conversation with Composers,” publised last year in GIA Publication's new book, Conducting Women's Choirs.  Here are some excerpts from her interview with Elizabeth:

Jan 12 2013

When people make music, we say that they're "playing."  Nevertheless, I often slip into thinking that composing music is "work."  What's that all about?

Part of the problem is that the world around me worships the God of Work, which offers us a powerful soul-killing mantra: "I have so much work. I am so busy. I have no time."  I'm actually afraid to tell people that I took the afternoon off, for fear that they'll imply that I'm not a "serious composer."  (Oh no!)

May 22 2012

When my husband and I get into an argument, the worst thing we can accuse each other of is “not showing up.”  During our worst moments, we can be quite adamant with these accusations:  One of us will say, “you're not showing up in this conversation."  "Me?” the other will reply. “I'm not not showing up - you're the one who's not showing up.”

Jan 15 2012

When composers set poems to music, they exert a great deal of control over how the listeners hear those poems. In the hands of different composers, the same words can become tender or hard-edged, energetic or gentle, earnest or ironic.

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