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Honeysuckle Rose May 15, 2018 DRAM News DRAM Expands The Experimental Intermedia Archive With New Exclusive Content Including Live Yasunao Tone! Oct 17, 2016 DRAM News DRAM Celebrates New Additions To The Ben Hall Gospel Archive! Apr 04, 2016 DRAM News DRAM and Sound American Celebrate American Trumpeter and World Music Pioneer, Don Cherry Dec 17, 2015 DRAM News DRAM and Sound American Explore Five "Monophonic" Composers Jul 30, 2014 DRAM News DRAM and Sound American Explore Deep Listening Jan 08, 2014 DRAM News DRAM, Sound American, and Pew Foundation present Philadelphia's Music May 23, 2013 DRAM News DRAM and Sound American ask "What Is American Music?" Feb 19, 2013 DRAM News DRAM Wishes John Cage A Happy Centennial Nov 29, 2012 DRAM News DRAM Authentication Issue - Thursday, November 29th 2012 Nov 28, 2012 |
DRAM NewsDRAM and Sound American Explore Five "Monophonic" ComposersPosted on Wednesday, July 30, 2014DRAM's online music journal, Sound American, views the music of five very special and unique composers through the limited lense of their monophonic or single line music. Monophonic music is often thought of as being simply a historical remnant of early church music or the playground of minimalist composition for solo instruments, but many contemporary composers have made some of their most personal and powerfully creative statements by putting one single note after another. Besides DRAM composers Eastman, Beuger, Lacy, and Johnson, the issue features the French spectralist Gerard Grisey and four great saxophonists tackling solo saxophone versions of the timeless "Body and Soul" in homage to Coleman Hawkins, the first great jazz monophonic artist. Each composer is written about by someone in the field who has intimate knowledge of their music; exploring, through different voices, the depths of their monophonic work. As a counterbalance, SA editor Nate Wooley interviews a musician hearing the composer's work for the first time. The differences and similarities in perception provides an unique insight into not only the music presented, but the way we perceive and come to understand composition. |