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Friday, November 28, 2014

so this is christmas


Wednesday, November 26, 2014

a puppet psa

Cameron Garrity with his creations. © 2014 Richard Termine
Hello blog, my good, trusted, now six-year-old friend. I know it has been awhile. I know I've unwillingly pushed you aside while my academic engagement has me doing a whole hell of a lot of teaching and a whole hell of a lot of meetings; and frankly, you are something I shouldn't have abandoned. Why? Well, I haven't been able to write, and in turn I have not been able to think. And so, due to my lack of blog attentiveness, my thinking has atrophied. I lament this, but maybe Thanksgiving break can not only help me realize how thankful I am to have my wits, but also help me nurture my brain and coax some bits of brilliance back into it.

Now: Puppets.

Why do I bring up puppets? As promised, I said I'd write about the 2014 Puppet Conference. And frankly, I need to. Considering that Puppet Camp takes place in June, which also takes place during a NANOWorks production and another engagement that will have me wearing powder-blue polos daily, I may never be able to attend Puppet Conference again.

Okay, that's a bit drastic. Maybe the time will come when I meet the Eugene O'Neill Theater Center again, but until then, I can compose my thoughts and write some memories.

So, let me tell you a little about Cameron (T) Garrity, a puppeteer I met at this conference. He is the son of a bicycle maker and a teacher, and the grandson to a war veteran and an amateur chef, and the great-great grandson of a penny-less, leg-less, monkey-less organ grinder.

(Okay, okay, not really, but work with the narrative here.) Mr. Garrity created a Puppet PSA explaining mitochondrial disease. Well, not so much a Puppet PSA as much as a narrative about a kid growing up with mitochondrial disease. And from what I learned from this puppet play, it kinda sucks.

The music I created for this puppet play is incidental, at best. Much of the material was improvised; some of it was stolen. But ultimately, the music does not matter here—what matters is that I learned something from Cameron, in that we need more stories like this (and not the generic ones in our dramaturgy). We need theater that makes us think.

Monday, September 22, 2014

composer FAIL #83


The past few weeks I've either been opera planning, lesson planning, or reducing Copland (more on that in a future post because it seriously consumed my life for a while). Alas, the rejection letters had been piling up. So, instead on working on more Copland parts, I decided to clear out my inbox instead. Enjoy!


If there were only seventeen applicants…sigh.

Friday, August 15, 2014

composer FAIL #82


So I have this dilemma. There is a composition competition that is due today, and I am tempted to enter it, but alas, they sent me a rejection letter a few months earlier.


Look familiar? If I were to enter this comp-comp, I'd submit the same piece as last year (Spielzeug Straßenbahn) but I would have a recording this time around. But I would be submitting a rejected piece. And there's an application fee. So, maybe I should say no, but…

(sometimes I wonder if I have entered a new level of masochism.)


Monday, July 7, 2014

some summer projects


I thought I'd break up the rejection pile a bit with a random post that involves puppets, opera, and maybe a puppet opera. And some deep thoughts.

**DEEP THOUGHTS**
  • Puppet Camp was fun: I met lots of cool people and improvised some incidental music to some of the participant projects. Heck, I even wrote some music for one of the participant projects.
Meet Helmut.


Isn't he beautiful?



So, the rest of the summer will include:
  • reducing Copland for my academic institution…
  • going to baseball games
  • reading about baseball games
  • going through over sixty NANOWorks opera entries so I can pick the next season
    • sadly sending out rejection letters…there might be a new blog post about this…
  • maybe cuddle a cat?

Wednesday, June 11, 2014

composer FAIL #81


I'd like to tell you all that Lindsay Cat is sleeping on a Very Important Document, you know, something to do with casting a NANOWorks show or sending a Very Important Email about a NANOWorks show, but in typical Cat Fashion, she is not helping with said NANOWorks show.

Did I mention we have a show?

Anyway, I'll post the latest rejection letter. And, instead of spending a year in Rome, I'll be attending the 2014 O’Neill National Puppetry Conference at the Eugene O'Neill Theater Center in Waterford, CT starting this Saturday. Like I wanted to eat spaghetti alla carbonara anyway…(sob).


Monday, May 19, 2014

cadillacs for microphones: texas tech


Why hello there and welcome back, party people. Summer vacation has just begun, and so therefore maybe it's time to catch up on those emails, hours of sleep, and Facebook posts that display the delightfully…misguided and erroneous answers we find on those music history/appreciation/elective exams. (I think I might have to submit my Miguel Cabrera answer…someday…)

Anyway, back in March I took a trip out to Texas Tech to hear Spielzeug Straßenbahn; it finally received its world premiere. Finally.

Wednesday, May 7, 2014

composer FAIL #80


Why yes I'm clearing out my inbox this week. Why yes I'm up to eighty rejection letters. Maybe I should throw a huge party to celebrate.



Monday, May 5, 2014

composer FAIL #79


Welcome to this edition of "I'm posting another rejection letter due to wrapping up the last week of classes" and so here is another rejection letter. Yes, they have been sitting in my inbox, and yes, I have a cache of them.


Well…yeah…my proposal did not fly.

Monday, April 28, 2014

composer FAIL #78


Oh look, another month has gone by on the blog without a weekly blog post. That's okay. Anyway, I wanted to thank everyone for reading/commenting on my posts at NewMusicBox, and huge thank you to Alexandra Gardner and Molly Sheridan for editing said posts (I was truly spoiled).

So, um, time for the rejection letter, no?


I am kind of curious how many composers submitted operas…and if my opera wasn't selected due to lack of orchestration or abundance of male voices. Is it so hard to provide feedback?