About the blog
deformingprisms is dedicated to exploring the purposes, ethical implications, sociohistorical meanings, and techniques of music composition in the present era. The blog aspires to be a catalyst for conversation and collaboration among emerging composers, performers, and new music enthusiasts, and features posts by various authors on a wide range of topics related to new music.
About the authors
Sarah Perske is a composer, writer, and classical guitarist with a penchant for the vibrant and the unusual in music and in the written word. Sarah’s works have been performed by The Playground Ensemble, classical guitarist Laura Husbands, and virtuoso musical saw player Caroline McCaskey. In 2013 Sarah was winner of The Playground Anne Culver Commission Prize. Outside of music, Sarah is interested in painting, gluten-free cooking, Roman Catholic theology, and cats.
A thoughtful explorer of the sound world, Nathan Cornelius searches for the hidden beauty in sounds both fresh and familiar. By taking listeners with him on this journey through sonic landscapes, he seeks to open to their ears to new colors, textures, and ultimately, new ways of hearing. Trained as a classical guitarist, Nathan pursues a multifaceted career in composition, performance, and teaching. He is deeply interested in the connections between music and the visual arts as they embody the values of a civilization, and he hopes to compose music that both reflects his Christian faith and expands the imagination of the culture. His photography, ceramic work and art history research have received various awards, and he operates the online ceramics shop SfzCeramics, featuring his own work. To learn more about Nathan’s music, please visit: http://www.nathancornelius.com
A fierce experimentalist, Stephen Bailey is a Colorado-based composer, instrument maker, producer and sound engineer. Stephen’s compositional output embodies a language in which the primary concern is expression and the primary tool is texture. This definitively contemporary language borrows techniques from composers of minimalism, sound mass, new simplicity, and post-serialism, and explores them on the canvas of chamber, choral, and electronic music. The result can be both ecstatically serene and forcefully chaotic, both sumptuously beautiful and disturbingly ugly.