Music Monday: The Red Book of Montserrat

My knowledge of Medieval Europe is somewhat patchy, to say the least. My high school’s basic world history course tracked Europe thru the fall of the Roman Empire, but then shifted south to cover the kingdoms of Africa (a curriculum that I’m very down with; it’s a shame that more public high schools don’t teach about Songhai, Mali, Kush, Axum, and the many other kingdoms and empires that have existed in various incarnations on that continent.). Then, when I took AP European History, I came down with pneumonia the week that we covered the Middle Ages in Europe, and never really made up the material. And while I did take the Medieval and Renaissance music history course in college, it was . . . considerably less politically focussed than the Baroque-to-1950s, so it did little to fill in the gaps.

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Circle of Tints

Despite having written about it twice before, it sometimes seems like a well kept secret that I have sound-color synesthesia. I do! This means that I “see” colors when I listen to music, but it also — and more importantly for today’s post — means that when I sit down to write music, I start by imagining colors, and those colors guide me to the sounds I need. Over the years that I’ve been composing, I’ve built up a pretty robust system of key-color associations, and today I’m going to provide a peek under the hood and actually list them out.

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Music Monday: Agincourt Carol

And now for something completely different. All of the posts to date have featured music from the 20th and 21st Centuries. That's been deliberate: I have an overwhelming fondness for these musics, and I think most of them are neglected and often unfairly maligned as cacophonous and unpleasant to listen to. But they're also not the only good music out there. So today I'm turning to the other side of the Western Art Music common practice, to feature a piece born out of the bitter rivalry between Medieval France and England.

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