Hi everyone! I hope you all had a great summer break.

I will say very quickly that my trip in Milna, Croatia was an amazing experience! From meeting composers with the same interest as me who are also quite talented, to exploring many parts of Brac was truly something that motivated me for the first time since last year. I would love to fly back there, but for now, we need to move on. I will talk more about Croatia later… but first check this out!

Recently, I formed a new music ensemble called Unanimous. Unanimous is a student/alumnus run organization that will spread the awareness of new music by known and emerging composers to the Lansing area and beyond. Although the group originated from four musicians, the committee, we have 12 musicians in the roster and growing. Like Michigan State University’s Musique 21, we work on a rotation cycle, so not everyone will be here.

Our schedule features many great opportunities that you won’t want to miss! Starting on October 17th, we début out first concert in Cook Hall at MSU which will feature pop-minimalist music from composers David Lang, Bill Ryan, Marc Mellits, Dan Becker and Louis Andriessen. Then between December 1st and December 3rd (still figuring out which date), we will feature a theatrical concert at the RCAH Theater on MSU’s campus. This particular concert will feature three compositions by myself, which relate thematically, and Natalie Moller’s Lepidoptera, which I highly recommend watching!

The second semester concert dates are unofficial, but one concert will feature a shared concert with Ann Arbor’s Willo-Collective, and another is a call-for-scores concert, which I will post the details later today.

My intentions for this ensemble is to make Unanimous a professional ensemble and not a one year deal like many ensembles before. Assuming that this season goes well, we will look into performing in festivals, and other parts of the U.S. to spread the word about Unanimous.

Today, I am here to give you an update on how my time as a freelance composer has been so far. I will also give some advice to those who are about to dive into the world outside of the comfortable academic circle.

I jumped out of the academic lifestyle last May when I graduated with a masters degree in music composition at Michigan State University. At the beginning, I managed to work on three composition projects: euphonium sonata with piano, clarinet/percussion duo, and a grade IV band piece (eventually adding a project for percussion trio in December). While this was all exciting and fun, life quickly became quite stressful and unsatisfying. Although I was no longer bound to the assignments/projects that was required in school, I had to find a way to manage my schedule so I could compose effectively while working for my Dad and teaching at Jackson College. This resulted in me being very exhausted, making my projects much slower in the composition process. I even had to postpone a project because of how overwhelmed I was. In addition, I was also applying for graduate school for DMA studies and summer festivals.

As time went on, things started to look up for me little by little. I have been able to write more and more music for some of my projects. I completed two composition interviews at the University of Michigan-Ann Arbor, which I felt quite content with, as well as feeling extremely excited about their composition program! I am teaching at Jackson College with a booming roster of 29 students (slightly more than double my class size last semester!) Throughout this school year, I have been able to travel around the country to meet some of the finest composers for advice on my portfolio as well as my path as a composer. More recently, I have been selected as 1 of 16 composers to study abroad in Croatia for two weeks. So while my experience so far has been mixed, I am truly enjoying my experience as a freelance composer!

Now, for the excited emerging composer/performer/theorist/whatever your “weapon of choice” is, I will give you some useful advice that I have used and learned from many people who have also experienced this moment. Credit for advice goes to Ricardo Lorenz, Carter Pann, David Maslanka, my Dad, and other articles that I have found online.

1. Always be driven to compose music. Many composers have made this suggestion to me and I will do the same for you. No matter what you have on your to-do list, always make sure you are creating music in some way, shape, or form. Even if there are no deadlines/goals, make a goal, make a deadline. It will help you push further and give you some excitement for more projects as well as maintaining the habit of writing.

2. Build and keep up connections/networking. This was a difficult step for me since I have always been a shy person. The key point is to think of everyone as equals. Every composer, from a Michael Goodman to a John Adams, is a human being. We might think highly of Adams, but to the public, he is nothing more than a person. As long as you have that type of mindset, you will have no problem approaching composers and performers unless they are trying to ignore you.

3. Collaborate through symbiotic collaboration. Ricardo Lorenz taught our composition seminar last spring about the process of symbiotic collaboration, which in my opinion should be the new standard of collaborations and commissions. Although I can not go on a large-scale explanation on the concept of symbiotic collaboration, I will say that through this process, you will not only write a piece, but you will learn a lot about a specific instrument/voice, the strengths/weaknesses of a particular musician and most importantly learn about each other. I composed Dialectics with Genevieve Beaulieu and we both loved the collaboration! Do this as much as possible! You will not regret it! (More information on symbiotic collaboration.) Link by Tom Childs.

4. Expect more failures than successes. This step has been and will always be an issue for me, since I consider myself to be a perfectionist. When it comes to jobs, competitions, commissions, graduate school, the chances of succeeding are lower than what we expect. When you are denied a job or a college, it is not an indicator that you are a horrible musician, but rather it either did not meet the panel’s interest or there was not enough room to add anymore people to a studio. Such a frustrating process. Instead of hiding in a corner and moping about your failures, take a look at the failed goal, look at it with glaring eyes and fight back. Failures will help you become determined since you will have something to prove to others the next time you apply.

5. Collaborate with music programs from the K-12 system. Although many composers, including myself, shun at the idea of writing music for the K-12 system, it is a great way to get your name out to the music world; especially if you want to make good money. Also, the public schools are always more than happy to work with composers.

6. Attend as many concerts as possible (specifically new music concerts or concerts with new music). Through this school year, I have been to more concerts and recitals than I ever been to through the six years at MSU. This is great for many reasons. As a composer, you will always learn new things through concerts. In addition, it is an excellent way of making connections with composers, performers, and others associated with the musical business. Two examples: I have been to Ann Arbor for many concerts within the past three months. Specifically the Midwest Composers Symposium and the Willo Collective. At the symposium, I met several composers from Michigan who had outstanding pieces as well as great personalities. I also learned about the overall musical language of each college. At the time, I was quite impressed by the originality each work, which made me challenge myself. I decided to challenge myself by breaking many boundaries to write anything possible. No apologies whatsoever! The Willo Collective Concert, which was at the Yellow Barn, gave me more reasons why I would love to write more works for percussion as well as experimenting with dance.

7. Work on other skills involving your career. These can include teaching, recording services, performing, publishing, conducting, music business, and other venues related to music.

8. Apply to graduate schools? It depends on what you are looking for. If you want to teach composition, then by all means, apply for a masters and a doctoral program. If you do not want to teach, it is not necessary to earn any graduate degrees. For the non-teachers, the only benefit of having a masters degree is that it will give you more time to learn more about writing. Personally, I’m applying for a doctoral program since when I do get a job, I will be able to use the said college as a vehicle to perform my pieces as often as possible while helping young eager composers become better communicators. In general, the goal for composers is to not be a teacher with a job. It’s too limited, too short, and it shows that composing is only a secondary chore and not your main focus. A realistic goal is to live life as a professional composer who inspires to become what he/she truly wants to be while maintaining a decent/fantastic financial lifestyle like teaching.

9. Publicize yourself with confidence. Musicians have to grow a strong skin when it comes to putting yourself out to the small but competitive musical world. It takes a lot of energy and patience, but there will be a moment when something will click. It was not until last year when I had about eleven interested musicians who wanted to play my music. (ten for The Two Siblings and one for Dialectics).

10. Take as much time as possible to reach your goals. What is the rush? Although many people have made this suggestion to me, Lorenz, Pann, and my Dad have emphasized this reason to me through their experiences while away from school (Pann took one year off from Michigan, while Lorenz took five years off before going to Chicago to study with Shulamit Ran). It is normal to feel jealous, angry, and stressed during the first year because everything is so much different from when you were in school. While some people want to get out of school, I feel the exact way when it comes to going back to school! The main thing to point out is that there is no rush whatsoever when it comes to education. Unless an apocalypse occurs, the degree will not go anywhere. Going to college is not a race and neither is art. Music in particular takes many hours to perfect and rushing things will ruin that concept. So enjoy yourself and do what feels right for you.

Last week, I completed 50% of my journey as a Masters student in Music Composition at Michigan State University. If there is one thing that I have learned from this school year, it’s that a Masters program flies by quickly!

In my previous post, I was under a lot of pressure with deadlines, competitions, and institutes. I am glad to say that I won in the new music category of the MSU Honors Competition! With that said, my piece, Test Drive, will be performed by the new music ensemble, Musique 21 during the following school year. I will keep you posted on the performance soon.

With Brevard, I had no idea where I would land, since of all the institutions in the United States, Brevard is considered as one of the best institutes for composers. I was placed on their waiting list. This is great, since now I’m on their radar…meaning that they’ve noticed my potential and hopefully when next year arrives, I’ll have a better chance of getting accepted.

UNL Chamber Music Institute on the other hand, denied. To be honest, I was quite shocked with the denial, since I was on Brevard’s waiting list, but Nebraska, which is great for chamber music with very good composition (not like Brevard), denied. I guess this could be due to a small number of chamber ensembles that applied to the program. Whatever the reason was, I can’t complain too much with how successful my first year as a Masters student was.

For this summer, I have a lot of projects on my plate. For starters, I’ve been working on a song cycle for baritone voice, flute, clarinet, violin, cello, and piano (similar to the Pierrot Lunaire ensemble “Eighth Blackbird“). Silent Music is comprised of three songs based on poems from three poets: Ana Bozicevic, Patrick Phillips, and Floyd Skloot. I’ve been able to communicate with all three of them and they were thrilled that I was interested in using their work into a song format. Hoping to have this piece finished by the end of the summer.

Then, the big granddaddy of the two: my thesis! Kind of scary really. I’m planning to compose my thesis for full orchestra, and my goal is to complete it by the end of my first semester in order to use this piece for the Honors Competition in the Orchestra division, along with other institutions.

Hopefully, I can give you more updates on the progress of these works as well as giving you some heads-up on what’s going on.

Wow! It has been almost 2 months since I posted a new blog post. I have been very busy for the good and bad.

Since December, I had worked on movements II. and III. in “Test Drive” for the honors competition. The deadline was yesterday (2/15), the same day as the Nebraska deadline. The good news is that I submitted the materials for both events, but at a bitter cost…Two weeks ago, I finished the second movement of Test Drive, however I did not have anything going for the third movement. Normally, I would think “I have two movements down, one more to go” right? WRONG! It turned out that on February 7th, I have a brief outline sketched in pencil and 10 measures that my professor rejected during my lesson. To top it off, I had 8 days until the deadline!!

This was scary because I was very busy with Wind Symphony, which is going through a hectic schedule this month, along with other projects for school. Between the 7th and the 15th, I had lost sleep for four days, composed all day for the week while barely working on homework (and forgetting to assign new etudes to my students) and I injured my right elbow from falling on the sidewalk arm/knee first on the day BEFORE the deadline! Luckily, I was able to turn in my materials for the MSU competition early this morning.

So after the intense week and a half, I am quite tired, though I have one more application to send: Brevard.

My goal for my Masters degree is to build my résumé as strong as possible to study at a high-caliber college for my D.M.A. that is similar or better to MSU, but with a better composition studio to find a promising job (not that I’m saying MSU is bad, but I have been here for five years going on six. No need to stay for an extra three-four years).

By applying to Brevard (and hopefully get accepted to Brevard), I will have the opportunity to make my résumé stronger than ever imagined, as I will learn to write five big projects per week, have my pieces performed AND recorded, and study from a superior level of composers (one of whom won a Grammy for Best Contemporary Composition on the American Opera “Elmer Gantry” this year)! I know that Brevard is quite competitive when it comes to applications, however I am willing to work and edit as much as possible to make this goal a possibility.

The best case scenario would be to win the competition and get accepted to both Nebraska and Brevard. If one of these does not happen, then I will still be happy with whatever the outcomes turns out.

Hello! I would like to point out that in the previous post, the pianist who will be performing my Concert Etudes I is Tzu-Yi Chang, not Chia-Ying Huang. In a few weeks, I will post a link to the webcast of this performance!

Recently, Dr. Ricardo Lorenz sent an email to our studio about a problem with the undergraduate premieres concert. He stated that there is only one piece on the program (maybe I’m wrong about this since the last time I checked this was last weekend). The only solution is to merge the undergraduate premieres with the graduate premieres.

Here’s my advice for those who are MSU undergraduate composers: it happens! haha. I understand that a lot of freshman/new undergrads in the studio, I also understand that many of you may not have a substantial amount of recently completed works. For example: I never had a piece of mine performed until my sophomore year, even though I started composition lessons later than usual. So what I’m saying, is that it is very common to not première a piece right away, however you should première something very soon. Otherwise, you may fall into the habit of avoiding your pieces being performed (well that’s a bit of an over exaggeration, but you know what I mean!). I guarantee that here at MSU, many of the musicians are very talented and they are more than willing to look at or even perform your pieces, that is if you ask them ahead of time.

Hello everyone!

So far, I am enjoying my semester as a graduate student at Michigan State University. My schedule is not as busy as my undergraduate years, but still busy. I’ve met a lot of new graduate composition majors who I get along with very well. Overall, I’m very excited to see what this semester brings to me and the comp studio!

On November 1st is the Graduate Premieres Concert at 7:39pm in the Hart Recital Hall. I will be having my most recently finished composition on the program: Concert Etudes I. Today, I will be giving the score to Chia-Ying Huang, who from I’ve heard is a great pianist! I will keep you posted on further updates to the event and composition. Until then, have a great week!

Hi everyone,

I apologize for not giving you an update on the poll. On Sunday, we had severe thunderstorms that were capable of creating tornadoes. During that time, we lost our power. *As of 2:05pm today, we have power again.

As far as the poll, 5 people have voted and the sax/euph duet is in the lead. Since we are still in a power outage, I will extend the deadline to Monday, June 6th. Regardless of which piece becomes the winner of this poll, I will eventually write pieces for the majority of the ideas.

The purpose of this poll is not about you choosing a project for me, but rather choosing an idea that sounds the most appealing to you. Recently, I have been quite curious as to what audiences in the contemporary music world want to hear. Many listeners these days have many different expectations when it comes to considering something great work of art, or cool music. For some reason, we, the composers who write this music, are having a hard time maintaining audiences for our Premiere Concerts. Usually what happens is that the composer/s will invite many of their friends that usually could care less about everyone else, but their friend. So they watch the concert and do whatever everyone does at the concert: LISTEN. Then once that particular composer is done, all of his/her friends will leave in waves. This has been a substantial problem at Michigan State University.

What I am proposing is that by establishing this poll (along with another poll that involves style), I am making a survey of what listeners want, what listeners look forward to in a concert, and most importantly, what makes the listener come back for more. I hope you take these polls seriously as this could help contribute to the success of many concerts alike.