Composing Oneself – 20 Quips About the Creating Process

A creative life or daily creative activity is a funny thing- fraught with missteps, miscues and misfires. It is not, as we might think, a Sturm und Drang artistic wrestle with the fates. It’s far more practical and hilarious than that.

Occasionally, an amusing thought, often containing a bitter grain of truth, will pop into my head.This is a partial list of these nuggets of “wisdom.”

1. Coffee helps. A lot.

2. Let your voice be the only one speaking in your head.

3. Create a space for silence. Music comes from there.

4. Listen, don’t think.

5. Don’t worry, that feeling of superiority will pass.

6. Is this necessary?

7. Not every idea has merit.

8. Inspiration doesn’t last long.

9. Don’t blame others for your mistakes.

10. It might not be the composer’s fault, but it is at rehearsal.

11. Trust the morning playback.

12. Panic is an option, but not a good one.

13. You are a child of the universe. Blah, blah, blah. Write the piece.

14. Players will give you incredulous looks. Plan on it.

15. Don’t be so precious.

16. When you’re tired, you’re going to hate everything. Go do something else.

17. If you start using terms like “macro and micro” or “pitch structures,” you need to slap yourself.

18. Envy is always partnered with self-doubt.

19. This isn’t actually working for a living.

20. Don’t go down the rabbit hole.

West Virginian Uses Opera to Talk Mountaintop Removal Mining, Painkiller Overdoses

Composer and Huntington native Nate May recently finished production on an original two-person music-drama, called Dust in the Bottomland.

When he began studying music at the University of Michigan Nate May decided to write an opera about some of the issues facing Appalachians.

His friend and fellow student at the University, Andrew Munn, collaborated with him to create Dust in the Bottomland, which they performed last year in West Virginia, Kentucky, Pennsylvania, and New York City. The piece uses only one instrument and one vocalist. May plays piano, and Munn sings bass.

“Some people ask, ’Where’s the Appalachian influence in the music?’ And I say, ‘Well, all of it. It’s me, who’s writing it and I grew up in Appalachia,’” said May.

Dust in the Bottomland is about a young man who grew up in West Virginia but moved away. Since he’s been gone, his parents and sister have been displaced from their home, due to mountaintop removal mining. They still live in West Virginia, though they now live down in the valley.

The main character is returning home after 10 years because his sister has overdosed on pain pills. During his return home, the protagonist also visits the site of his family’s home and sees the changes that mining has done to that landscape.

“I think the story hit home to a lot of people because a lot of people, even not from the area, know people affected by addiction,” said May. “The other issue that people were affected by was homecoming. And going away and coming back.”

Credit Nate May
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Album cover for Dust in the Bottomland. Shows Bev’s Flower Store in Oceana, West Virginia.

Nate May and Andrew Munn are now talking about composing a chamber ensemble version of Dust in the Bottomland, which will include more instruments.

Credit Abigail O’Bryan
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Andrew and Nate, during a break from rehearsing at Interlochen Center for the Arts in northern Michigan.

New Music Concert – Kanawha Forum 2.0

Flutist Lindsey Goodman is full of energy.

When I called her a dynamo, at first she looked puzzled, but I explained that I meant that she was full of enthusiasm, energy and drive. Just hearing about her performing and teaching schedule makes me want to take a nap.

But she is more than just a person with enthusiasm. She is a professional musician on a mission. This mission is her passion since she was 18 years old. Her mission is contemporary music.

Say “contemporary” music and some people, metaphorically, run screaming out of the room. Some of them still do it literally, but with all the variety in today’s music, the days of “Train Wrecks in C Sharp Minor” are mostly music of the past.

"New music is my life's calling. I firmly believe that if there's no music of the present, there can be no music of tomorrow."

There is no unified school of thought in this new millennium, no “ism” that can adequately summarize the style of concert music today. It’s a wide range of sounds, procedures and compositional choices.

WVSO flutist Lindsey Goodman has put together a new music series in cooperation with Kanawha United Presbyterian Church in Charleston.  The three concert series featuring a variety of contemporary works is called Kanawha Forum 2.0.

Here’s Lindsey to talk about it:

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