by Yale School of Music
At YSM, the only school of music in the Ivy League, students engage their curiosities and discover their voice.
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🇺🇲
Publishing Since
3/9/2021
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November 13, 2023
Meet composer Aaron Israel Levin 19’MM 27’DMA, who spoke with us about his piece Videogame Vespers, which was recorded, mixed, and mastered in the CSMT studios. “Videogame Vespers is a piece for violin and electronics that pairs video game violence with violin virtuosity” said Levin, who intertwines increasingly difficult violin passagework with classic gaming and arcade sound effects in punchy, rhythmic juxtapositions. “Placing traditional violin performance in dialogue with electronic sound allowed me to examine this intersection between popular culture and the culture of Western concert music. This junction is a concept I’m increasingly interested in, and which I’ve explored in other electroacoustic compositions, including Hand Bones for harpsichord and electronics.”
November 13, 2023
Meet soprano Amalia Crevani, ’23MMwho spoke with us about her piece Serenata for voice and electronics, composed and produced in CSMT. “Serenata [is] in many ways is a bridge between the natural/acoustic and digital worlds,” Crevani said. Aiming to create a particular nocturnal scene, I not only used various vocal techniques (chirping, cricket sounds, frogs croaking, and breath for wind sounds, etc.), but also special editing effects such as reverb, compression, and overtone manipulation to more accurately create the scene I envisioned in my mind’s eye (or, better yet, ear). Having the tools to more precisely shape these sounds through tech manipulation, I was better able to recount the piece’s central story at an entirely musical level.”
November 13, 2023
Meet composer Lila Meretzky ’22MM ’23MMA, who spoke with us about some of her recent work using CSMT. “One of the pieces I created in CSMT was a radio-play version of the short story Quadraturin by Sigizmund Krzhizhanovsky about a man whose apartment slowly turns into an abyss,” Meretzky said. “I was drawn to the radio-play medium because Krzhizhanovsky’s story is oddly void of visual detail but rich with sonic description. For the radio play, I recorded the text, foley, and original music in the CSMT studio to create an immersive underscoring. Once I’d collected these sounds, I composed the piece using Logic on the studio computers.”
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