“(Among the) highest, subtlest, strangest, and most elegant, musical and extra-musical explorations of the last 50 years.”
Steve Layton
Sequenza 21
“(Work) that should be seen as much as heard.”
Anastasia Tsioulcas
Deceptive Cadence, NPR Music.
“Art and music collide in (this) stunning score… beautiful…”
classicfm.com
“… making amazing breakthroughs in the art of notation.”
amazon.com
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I found your Ted-X talk delightful. Your approach to music is similar to mine in poetry. Interesting.
Thank you for the HUGE compliment! I never thought of language as “neuro-literary” ecology!But… if anything I do shares in your methodology, then I must be doing something right! 🙂
You honor me too much, Daniel. I’m your basic ill-educated lout, who after 30+ years of stumbling, is finally finding his way. I feel fortunate to have found your blog – you offer much of interest, of importance, to me – music, language, communication – and I am in awe of your accomplishments.
Ill-education and stumbling are nothing to be dismissed… if they are learnt from. There is a certain class of creators who benefit from this foundation, and you are representative of the positive results of that process. Many of the paths that lead to glory are rocky and meandering. All that matters is what you now present to the world… great haibun; zuihitsu-esque utterances that figure in the gestalt of the complexities of Life itself.
Hey Daniel, very fascinating.
I am currently writing my Thesis about modern Notation in Jazz. I would love to use your work being a part of the thesis. Are you fine with that?
If you like and got time, would you maybe like to answer some questions on performance and conception of the notation? That would be awesome and would help me a lot!
Thanks a lot for showing an inspiring way of thinking outside the cheeseburger.
I am 100% fine with it AND will answer any questions you have. Email me at the following address [redacted] and I will send you as much info as I can.