https://www.douglasboyce.net/news daily 0.75 2021-02-17 https://www.douglasboyce.net/news/vesci-lordinance monthly 0.5 2020-07-07 https://www.douglasboyce.net/events daily 0.75 2023-12-03 https://www.douglasboyce.net/events/7310syiyoi5zktjtflb3y086u3bpyv monthly 0.5 2023-12-03 https://www.douglasboyce.net/events/fall-2023 monthly 0.5 2023-11-01 https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/817f392a-22d0-40b5-92af-22b83f41106d/tbia+cover.jpg events - Fall 2023 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.douglasboyce.net/events/event-one-xhbw5 monthly 0.5 2023-01-21 https://www.douglasboyce.net/events/event-three-2h8jn monthly 0.5 2023-01-21 https://www.douglasboyce.net/events/event-two-6yl72 monthly 0.5 2023-11-01 https://www.douglasboyce.net/bio-2 daily 0.75 2025-03-29 https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/986ca7fa-debd-48b6-80ad-671d5344f9a9/DSC_0887+copy.JPG https://www.douglasboyce.net/landing daily 0.75 2022-11-20 https://www.douglasboyce.net/press daily 0.75 2025-07-13 https://www.douglasboyce.net/lessons daily 0.75 2023-02-21 https://www.douglasboyce.net/store daily 0.75 2024-03-24 https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1593305594900-O3IE2Q2R6NNN1753QDZE/scores.FV.jpg store https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/bcd432e9-1e15-422c-988a-a9d1f236ed18/tbia+cover.jpg store https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1593305722279-A9K2QWBH19E34P5ZQNPS/scores.deixo.jpg store https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1614194428537-1PY3BPT00JF3WQJBJBH0/690277900334_square.front.jpg store https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1593304140116-J9LSH4UF71TZN7NO5D3P/scores.vcpf.jpg store https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/c7df9d52-599f-4ca6-95bd-b3a162eeadba/fcr278_cover.540x0.jpg store https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1593304136415-44SGHWCFCF8WEA12SFTX/scores.floruit.jpg store https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1593306185273-804IHQRC5FVLASH9886B/fcr205_cover.540x0.jpg store https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1593304136315-QVELXXT45W28W07U2HOF/scores.partita.jpg store https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1593306197252-2CRCJFILC2C3QQA1T62L/fcr239_cover.540x0.jpg store https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1593304243638-2OX0S5V55P9KWYTZYOUP/scores.alcyone.jpg store https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1593306420334-TAHEYNZ97NZPCXFVJ5FX/group.theory.jpeg store https://www.douglasboyce.net/bio daily 0.75 2023-11-06 https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1593190945909-1OYEDFDDQUP596SFS3TB/composing%2540baldguy.jpg bio https://www.douglasboyce.net/some-consequences daily 0.75 2021-07-28 https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1593527697607-LZU8RF1B02NUUEIPG0WZ/charles-sanders-peirce-d0c6ab0e-04f9-4fae-ae74-6dc50c763d5-resize-750.jpg Some Consequences - Some Consequence of Four Incapacities is a project that takes its role as a namesake quite seriously. The philosopher C.S. Peirce wrote the eponymous essay in 1868, in the Journal of Speculative Philosophy, with all the brash intensity that flavors all his work. He attacks so much over which human thought claims a singular ownership: we are incapable of introspection, for the interiority we value as something singularly ours is a mirror of the world; we are incapable of intuition, for each thought is predicated upon prior thought, some our own to be sure, but all in the end derived from judgement and labor predating our own births; we are incapable of thinking a thought without the use of a language of signs, which as signs must be something other than the truth that they (re)present; and most perturbingly, we are not capable of conceiving of these limits, to catch even some sense of what resides beyond our finite imaginings. An odd source of inspiration for a composer, someone tasked with bringing something that has never existed into the oikumene of musical being. In writing this little essay, I hope to frame some of the manifestation of this thinking in my work. Even better: this is a memo, a note to help one remember, to carry forward into the moment of listening. It aims not to predetermine or privilege interpretations or experiences, but to contribute to the expansiveness of music's potential for meaningfulness, the ever-not-quite-ness that abets its escape from language's prisonhouse and reason's legalistic entanglements. https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1593526330428-5X2545S96HU64JHOSCF1/peirce.pyramid.jpg Some Consequences Charles Sanders Peirce (1839–1914) is a fascinating figure philosophically, historically, and biographically. He was the inaugurator of Pragmatism, America's great contribution to philosophy; he is the founder of an intellectual enterprise committed to disrupting all foundations. His most inventive work addressed language, communication, and symbology; the pure volume of his output on pretty much everything is quite belittling to one's own sense of capacity– mathematics, mathematical logic, physics, geodesy, spectroscopy, astronomy, psychology, anthropology, history, and economics. He developed a theory of semiotics quite distinct from his contemporary Saussure, and always, like his great friend William James, sought to radically reconsider the relation of thought to practice, of theoria to praxis. His biography is as cinematic as his thought is imposing. For thirty-two years, from 1859 until the last day of 1891, he was employed by the U. S. Coast and Geodetic Survey, mainly surveying and carrying out geodetic investigations. This largely mechanical work done to finance his philosophical work and his extravagant spending. This was increasingly a problem after the termination of his teaching position at Johns Hopkins; this was due, it seems, to the public disapproval of Peirce's second wife (a Gypsy), and even more so by the scandal that Peirce had more or less openly cohabited with her before marriage and before his divorce from his first wife. This was all quite beyond the pale of 19th century American academia. Thereafter, Peirce often lived on the edge of penury, eking out a living doing intellectual odd-jobs and because of the overt or covert charity of relatives or friends, for example that of his old friend William James. https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1593306185273-804IHQRC5FVLASH9886B/fcr205_cover.540x0.jpg Some Consequences - For Peirce, humans' knowledge of their world is contingent on understandings of external facts, there is no intuition, as all thought is carries forward its past. Indeed, there are no means by which the human can think anything wholly new– there is no "conception of the absolutely incognizable.” This is a thread the runs through much of his work, but is distilled in this essay most clearly. There is a darkness here, as there is in so much of Peirce– a seeming submission to human finitude, to limits both cognitive and biological. And, I think, that gothic and mournful mood carries across all the works on the disc, and the following postings should illustrated the significance of historicality, conditionality, and finitude in my work. And there is also a ferocity to Peirce's faith in Mind, in the potentiality of human thought, and I hear a bit of this heroism in this music– certainly in the peerless performances of my collaborators Trio Cavatina, Aeolus Quartet, and counter)induction. There is here a poetic of composing that is generative rather than creative— a kind of redemptive catastrophism, a newness achieved the the acknowledgement and endorsement of its own lateness. https://www.douglasboyce.net/102nd-amsterdam daily 0.75 2020-06-28 https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847902870-ZOUR0EX0L2QSQNRC1SP2/image-asset.jpeg 102nd & Amsterdam 102nd & Amsterdam (2005) AN INTERESTING ASPECT of returning to an older work for a recording project is that one returns to a work's history, its biography, in anticipation of a final rendering, an official version with about as much durability as one might hope for. During the course of this piece's performative life, it has been accompanied by a quite brief program note, one almost stereotypically avoiding any discussion of the pieces form or affect, focusing rather on inspiration and intent: 102nd & Amsterdam is dedicated to my father, Raymond Boyce; this was the first of many New York addresses for him. My father’s stories of growing up in New York in the 40’s and 50’s cemented in my mind the idea of New York as The City, an idea strengthened by my own relocations and peregrinations. My father is a wonderful, if diffuse, storyteller, with many narrative elements being developed, abandoned, rediscovered and sometimes corrected; while writing this piece, I thought often of his kaleidoscopic rhetoric, not merely episodic, and yet open and unbounded. . https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847903067-57HDPDJ6TWU40QPAQLS4/image-asset.jpeg 102nd & Amsterdam And this is a fair statement– the piece has unity in harmony and to a lesser degree motive, but its general affect is change, progress, flux. The form is dialogic, rather than than episodic, and the musical surface is the skein between dunamis and entelecheia, from potentiality to actuality and fulfillment. The hyletic substrate is largely a field of rhythmic play: metrical shifts; contrapuntal interactions, and transformations of rhythmic density. There is a sense of the open, but it is Lutoslawskian rather than improvised— breathing not counting, frames and ornamented unisons, dynamic mixed meter; pulses open, closed, forming and dissolving. This approach is fundamentally Modern, showing a a certain kind of disruptive momentism. Seeking a perpetual awareness that, unlike the Expressionism, is more phenomenologic than it is emotional, hyletic (and so on the cusp of the Real, rather than pulling towards an emotional interiority). This approach marks a path towards form, winding through Husserl's retention and protention and ending comfortably in James' specious present. The event only happens with in the past and the future, and in its becoming/having-been enables a construction of a Now. As with much of my music, before and after, it is a music with corners, even if those corners don't quite lead to where you thought you were headed. Chronos is deceitful, complicit in the disruptions of Aion, and weakly fading as order is reasserted. Time's becoming takes two gods, because time does not instantiate itself. It is a product of action of Da-sein, and Da-sein is crafty, trying new strategies for new understandings and stubborn, holding with holding what has become dear to it. https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847737533-XZEYJ52CL1Y88CID07X1/image-asset.jpeg 102nd & Amsterdam In the time I have come to realize is that the true play is the play of memory; homo ludens plays within rules, ADOPTS those rules. In making them its own, it moves from the general to the particular, from the game to a game. True generative play requires the imagination of potential futures and the memory of both the immediate past and deeper pasts. Gadamer shows us that Husserl's pro- and re-tentions are also forejudgement and re-presentation. The Now is not manifest through creative action, but hermeneutic agency. The aspiration to be that "writer of history with the gift of setting alight the sparks of hope in the past." In the case of the arts, the concern with technique, which allows for the genius, the craftsman, the scholar, as well as the hierophant and the mystagogue. Adoption empowers, and also sets obligations. Sorge as retelling and retelling and retelling reveals the player to be homo curator. It is here that I understand more fully the place of my storytelling father in the work– his is a retelling of a being within which I was never present. The profound personal, geographic, and cultural changes experienced by and undertaking by are accompanied by interest in the preservation (through re-presentation) of the past - this is bringing historicity into that well lit grove. It also makes me think of the radicality of this position – it is an acknowledgement of a perpetually transforming world of flux, but speaks to the role of critical agency in moving the world forward. Though rooted in faith, it is not rooted in knowledge. It echoes Peirce: "Where is the real, the thing independent of how we think it, to be found? There must be such a thing, for we find our opinions constrained; there is something, therefore, which influences our thoughts, and is not created by them." Peirce ran towards logic and his signs as the foundation of memory; I move towards memory first, towards a trust in the conditionality of being, in memory and its imperfect continuations of Being. This work was premiered by counter)induction on Sept. 9th 2005 at the Tenri Cultural Institute, New York. by counter)induction, an ensemble with whom I have been most closely associated since its formation in 1999. This recording features members of the Aeolus Quartet https://www.douglasboyce.net/piano-quartet-no-1 daily 0.75 2021-07-30 https://www.douglasboyce.net/fortuitous-variations daily 0.75 2021-12-17 https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1593526959928-2K4Y0Y8NVXBSUUNQSBVO/cavatina.1.jpg Fortuitous Variations C.S. Peirce (1839 – 1914) wrote that "three modes of evolution have thus been brought before us: evolution by fortuitous variation, evolution by mechanical necessity, and evolution by creative love." Fortuitous Variations tries to capture something of Peirce's extravagance of thought; music growing, changing, and always almost not quite bursting at its seams. The notion of order as an emergent property of chance and flux threads itself through all of Peirce's works, as well as those of his great friend and supporter William James (1842 – 1910); the title of Fortuitous Variations and its constituent movements, as well as various tempo and character markings in the scores, are drawn from the writings of Peirce, James, and one of his great heroes, Aristotle. This piece was made possible by a grant from the Fromm Music Foundation. The work is dedicated, emphatically, to Trio Cavatina. https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1593527572106-P86QVWOIFYXEN7D5AVB6/peirce-Harvard01.jpg Fortuitous Variations - Over the course of the four movements a small array of intervals folds on to and out of itself, generating new patterns, passages, textures and harmonic lattices that are themselves only smaller neighborhoods within the greater and more greatly varied manifold that is the work in toto. In parallel, three different means projections of musical time are operative: the chronos of pulse, the aion of the cloud, the churning substrate of being. And everywhere, the device of developing variations pervades -- an overflowing of diversity held in check by forms and rhetorics, a diversity which conceals a deeper, intrinsic oneness while leading to a spiral of Heraclitian flux that is both violent and cathartic. https://www.douglasboyce.net/support daily 0.75 2021-02-27 https://www.douglasboyce.net/listening daily 0.75 2023-10-14 https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1593479321094-7RDDB316EUSKD61PYZA4/klee.winterjourney.jpg https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1613765957099-RKDQINWZ6MXU5XCT8U9K/gallant.converstaion.Gerard_ter_Borch_%28II%29_019.jpg https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1593479786619-7RVMPE1K9O86XZ6NPN51/cavatina.1blue.jpg https://www.douglasboyce.net/a-new-historicism daily 0.75 2024-11-07 https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1597523983159-HAU40MKOXHGRPPGUQ6JP/qlha.artsisto.jpg a new historicism - Quintet l’homme armé Quintet l’homme armé opens the album with a shriek. Surprisingly, given its titular invocation of medieval aesthetics, this dissonance continues as the once pervasive 15th-century melody is subjected to a series of transformations so drastic it is rendered largely unrecognizable. Historical, contrapuntal, and isorhythmic techniques are effaced by strategies linked to more recently ascended masters, like Ligeti and Lutoslawski. https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1597524564790-96ZRWIJKMJH625EZ4ADD/pymalion.image.jpg a new historicism - Etude on ‘Pymalion’ This etude is a study of the ballade, 'Pymalion qui moult subtilz estoit,' found in the Torino Codex, a compendium of music from 15th century Cyprus. The source piece serves as the origin for pitch and rhythmic material, but also in that it is a study in the project of adoption, in the thorough engagement with the exquisite foreignness of the past, transformed into the colors of modern instrumental techniques and rhythmic play. https://www.douglasboyce.net/book-of-etudes daily 0.75 2021-02-27 https://www.douglasboyce.net/ensembleworks daily 0.75 2020-08-30 https://www.douglasboyce.net/quintet-lhomme-arme daily 0.75 2021-07-30 https://www.douglasboyce.net/floruit-egregiis daily 0.75 2024-12-04 https://www.douglasboyce.net/etude-on-pymalion daily 0.75 2023-11-03 https://www.douglasboyce.net/bird-like-things-in-things-like-trees daily 0.75 2020-08-16 https://www.douglasboyce.net/tethys daily 0.75 2020-08-16 https://www.douglasboyce.net/sails-knifebright-in-a-seasonal-wind daily 0.75 2023-01-31 https://www.douglasboyce.net/etude-ritournelle-capricieuse-quire-2-number-1 daily 0.75 2024-12-20 https://www.douglasboyce.net/etude-stretto-perpetuo-quire-4-no-1 daily 0.75 2021-07-25 https://www.douglasboyce.net/etude-aion-chronos-q7n1 daily 0.75 2021-07-31 https://www.douglasboyce.net/about-workshop daily 0.75 2020-10-11 https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1600315198189-H06Y3WNHWJJPD0QG11L5/molly_jeremy_087.jpg about workshop https://www.douglasboyce.net/schedule daily 0.75 2020-10-25 https://www.douglasboyce.net/thaks-mammoth-anecdote daily 0.75 2021-12-11 https://www.douglasboyce.net/on-film-music daily 0.75 2025-12-15 https://www.douglasboyce.net/etude-the-hunt-by-night daily 0.75 2023-01-31 https://www.douglasboyce.net/orchestral-thinking daily 0.75 2021-02-01 https://www.douglasboyce.net/veda daily 0.75 2021-02-01 https://www.douglasboyce.net/bkysonatas daily 0.75 2021-12-10 https://www.douglasboyce.net/the-old-new-chromaticism daily 0.75 2021-02-01 https://www.douglasboyce.net/partita-2-an-deilf daily 0.75 2024-03-24 https://www.douglasboyce.net/boyce-studio/warp-weft daily 0.75 2021-04-22 https://www.douglasboyce.net/pocket-botstein daily 0.75 2021-12-10 https://www.douglasboyce.net/on-vesci-l-ordenance daily 0.75 2023-10-14 https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1613591486140-OK2LONE9JJG41WRQZ4UF/schuyler+%26+ieva.JPG Vesci l'ordenance - a new virtuosity I work in a community of unprecendented technical capacity; these are performers that have made the transcendental into something every day. and for me, the notable physical demands on the performers are compounded by notable and playful disruptions. the great anxiety of performance: the chance of collective failure, the possibility of a performance coming apart. Individual technics of musicking are reframed to the comity of performance, the contingency of music on shared-being. https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1593479321094-7RDDB316EUSKD61PYZA4/klee.winterjourney.jpg Vesci l'ordenance - resonance Music is more temporal than sonic; we see that in the coming-together of pulse and time in performance, and in the hermeneutic simultaneity of music across centuries. But music is also connective across disciplines, art forms, and experiences. There is transmission and receipt across languages and logics, metaphysical messages from distant stars, and adjacent (yet orthogonal) worlds. All music brings together the potential of the past and the future, of the visual and the sonic, of the abstract and the immanent. But within my music, these resonances are harder to ignore. https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1613593725943-GNPUNKNYXFWDX7U5KZJW/quintet.by.tiernan.jpg Vesci l'ordenance - designed aleatory Composers are generally granted inappropriate authority;- a perfect knowledge of the ‘proper’ performance of their music. But such knowlege would require a perfect understanding of a works historical entailments, of the audience’s aesthetic judgements, and, most challenging of all, of their own interior interests and creative process. My music disrupted this ‘reading’ by allowing and at times requiring performative decisions on the fly, sharing the opportunity for hermeneutic agency with my performing collaborators. https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1593387735031-B9G21GSAQGMF1EJ6FQBE/pierre.de.la.rue.jpg Vesci l'ordenance - a new historicism Most framings of the Modern, by artists and critics, too often frame the Now around the new, the cult of the novel. For me, Modernism is the response to the fractured Now, a means of organizing potential futures from the shards of the past. The distinctive simultaneity of the non-simultaneous manifests in my work marks this understanding, as material and techniques from distant pasts, frequently from the Medieval and Renaissance, are metamorphized into the severe aesthetics of the Modern moment in an aesthetic and poesic alloy. https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1593190945909-1OYEDFDDQUP596SFS3TB/composing%2540baldguy.jpg Vesci l'ordenance - a philosophical mood Given the tendencies above, in which the contingencies of music on context, historicity, technicity, and comity manifest themselves overtly, inescapably, it might be best said that my music comes from and resides in a philosophical mood, suggesting or even requiring both an engaged fallibilism, and a philosophical generosity. Kant’s ‘sapere aude’ is, in the event, insufficient, as the ‘dare to know’ does not entail a required engagement, of labor to be undertaken by composer, performer, and listener. https://www.douglasboyce.net/new-virtuosity daily 0.75 2021-07-31 https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1593376723661-YG6N98RPDJOD96X5YA7Y/tethys.prisma.jpg new virtuosity - Tethys Tethys is a peculiar figure in the mythic structure of her position in the mythic structures Antiquity; sister and consort of Oceanus, she reorders stars and constellations and gives birth to rivers and lakes as well as the sea nymphs. In Tethys the soloist couples and decouples from three distinct groupings of instruments, pushing and pulling harmonies and motives, but also forming connections that pull the music across the space of the performance. The work was written for violinist Miranda Cuckson, and counter)induction. https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1593291484395-X83DC267YPK5Q1BY5CXN/caccia+session.jpg new virtuosity - Etude “The Hunt by Night Etude No. 3, Quire 7 is a modern caccia wherein the temporal orientations of the musicians are bundled and re-bundled, and roles shift from pursuer to pursued, from furious precision to savage confusion. The work has two sources: Paulo Ucello's 1470 eponymous painting, and Mahon's poem of the same. Uccello plays with the symmetry and flatness, as the colorful images of a hunt filled with hunters, horses, dogs, horns, while Mahon's poetic exegesis transits back and forth: “Crazed no more by foetid /Bestial howls" the hunt is transformed, " horses to rocking-horses / Tamed and framed to courtly uses." https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1613591486140-OK2LONE9JJG41WRQZ4UF/schuyler+%26+ieva.JPG new virtuosity - Stretto Perpetuo Stretto Perpetuo follows the heroic tendency of the Modern, inherited from the Romantic but now more jagged and intense; the duo here is almost combative. The performers fly along plateaus of order and disorder with the speed of the nomadic war-machine with its twists and turns, violent acceleration, and endless motion. https://www.douglasboyce.net/designed-aleatory daily 0.75 2021-07-31 https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1627653435037-NZNV3C3M62XSENNP1MXO/signs.cave.jpg designed aleatory - Piano Quartet #1 In this work for violin, viola, cello, and piano there is a mixture of fairly freem improvisation, ‘open pulsed’ sections, in which meter and beat dissolve into and restablish themselves. Its surface aesthetic owes much to the punk and prog rock of my youth while its structure derives from the harmonic structure of more ‘learned’ study. https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1627762137488-GIDL75ZVIFY6AFOFDVXE/chronos.aion.jpeg designed aleatory - Etude: ‘Aion & Chronos’ The archetypal cat-and-mouse between composer and performer that have defined the etude for centuries continues physically and technically, but also rhetorically and formally. In Etude for Clarinet, Cello, and Piano, No. 1 metered ostinato passages put forward glacially-paced harmonic motion while free-pulse sections bring sequential, symmetric migrations of material through pitch-space. This is a study of temporality as revealed in performance. https://www.douglasboyce.net/a-philosophical-mood daily 0.75 2021-07-31 https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1593479786619-7RVMPE1K9O86XZ6NPN51/cavatina.1blue.jpg a philosophical mood - Fortuitous Variations a work for violin, viola, cello, clarinet and piano https://www.douglasboyce.net/resonances daily 0.75 2021-07-31 https://images.squarespace-cdn.com/content/v1/5ef39f2fa2f20d0d3ac55306/1627654538793-KMOU5K66JKMSADS0G0BQ/tarbell.Couvade+1+-Birdlike+Treelike+LR+copy.jpg resonances - Bird-like Things in Things like Trees A work for cello, clarinet, and piano, this is a multi-media work emerging from the collaborative work of composer Douglas Boyce and artist Rob Tarbell. 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