Tyler Hughes

"I don’t know if the appropriation of this music by a political party is a good example for your thread Tyler, cause obviously the music has been inserted later in the video, but still this kind of appropriation of Wagner's music took place…"

"We'd be remiss not to mention Hannibal Lector's theme- the Goldberg variations…. (i guess demonstrating poise and inventiveness shared w/ JS… oh the irony!! :)"

"In Elysium, about 13 minutes into the film, the space station, which is populated by an isolationist privileged class is represented with Bachs 1st Cello Suite. In the same scene the primary villain in introduced, who in the next scene gives…"

About Me (Must include at least one paragraph of biographical information about you as a composer) - blank or minimal answers on this line will cause your request to be rejected. Include a link to your website if you have one.

Tyler Hughes holds a bachelors from Stephen F. Austin State University and a Masters Degree from Texas Tech University. He studied under Dr. Stephen Lias during his undergrad and continues his education at Texas Tech University under the tutelage of Dr. Peter Fischer in pursuit of a Doctorate degree of Musical Arts. He has amassed an extensive body of work as well as improved his compositional skills. While studying, he is also a working composer, having commissions to write music. He is an active member of the National Association of Composer, USA (NACUSA) and of Society of Composers (SCI), and has had music performed at three Texas chapter NACUSA conferences. The most recent of these performances garnered him the prize for Best Undergraduate Composition. Tyler’s plans include obtaining a doctoral degree in music. After that, Tyler plans to teach music composition and theory at the college level while continuing to compose.

Notes about the “From 95 Poems” world premier video:

Can I assume Joseph had a “complete” score in front of him? His voice is very good. (I can’t “judge” It always comes through clearly. (Were you recording the premier’s sound through a mixer board? While sometimes it clipped and got distorted (perhaps that was only on my end), it was really much cleaner than I’d expect from a straight video camera recording.)

I don’t know cummings’ poems, but you really seem to have a knack for setting words/voice to music/atmospheric effects. I like this piece. I find myself coming back to is several times during the day – and I mean the whole thing not just bits and pieces; I’ve heard it 5-6 times through already.

One of my favorite spots is at 6:22 – with the rush of sound and swelling of voice.

I did find it hard to *watch* the piece because it was so “private” (only between Joseph and the recording -- and so I, as an audience, was not *involved* and, in fact, found watching it hard because I always look for the visual clues I expect to see from an orchestra/performers/conductor. Not that body language is present in such a piece as yours (though it might be).

Several times (twice only?) I find the sounds on the recording intrusive. Maybe it’s just the first time I hear the mouth sounds or one other of the sounds.

Overall, the piece (the three poems set) is very engaging. So much music of this “type” is too distancing for me. I’ve tried listening to Glass, Reich, etc., but while I may like some of the pieces, the overall style and content does not draw me in. Yours has a different effect on me (finally!).

And I LOVE the ending (#62: “each luckiest of lucky days”). It’s captivating – and then it’s over. That kind of ending makes me long for more because it’s both un-final and puts a period on it nonetheless. The in-finality of the ending makes me re-think over all I’ve heard up to then, and THAT keeps me wanting more.

--John Elliott
Albany, Oregon

P.S.: Thank you.

Comments

Phillip Grigalanz May 4, 2010 at 3:13pm

Thank you :)
Richard Rayer May 2, 2010 at 3:15am

I have songs and compositions available here:

http://www.soundclick.com/bands/default.cfm?bandID=381168

Thanks for the welcome into the community!
Semper Fields May 1, 2010 at 9:57pm

Thanks man. Really like what I've heard of your stuff so far.
Dor Fischer May 1, 2010 at 3:04pm

Thank you! this sure looks like a great site...
Gantchikova Elena April 30, 2010 at 10:04pm

Thank you
André Ruiz April 22, 2010 at 8:19pm

Thanks for your comment, Tyler.
Tapsa Kuusniemi April 14, 2010 at 5:01pm

Thanks man, just learning to use the site. :)
Herb Hartley April 10, 2010 at 7:58pm

Thanks... looking forward to hanging out here.
Arthur Hendriks March 16, 2010 at 1:48pm

What can i say. just fabulous. Beautifull
John Elliott February 28, 2010 at 8:32am

Notes about the “From 95 Poems” world premier video:

Can I assume Joseph had a “complete” score in front of him? His voice is very good. (I can’t “judge” It always comes through clearly. (Were you recording the premier’s sound through a mixer board? While sometimes it clipped and got distorted (perhaps that was only on my end), it was really much cleaner than I’d expect from a straight video camera recording.)

I don’t know cummings’ poems, but you really seem to have a knack for setting words/voice to music/atmospheric effects. I like this piece. I find myself coming back to is several times during the day – and I mean the whole thing not just bits and pieces; I’ve heard it 5-6 times through already.

One of my favorite spots is at 6:22 – with the rush of sound and swelling of voice.

I did find it hard to *watch* the piece because it was so “private” (only between Joseph and the recording -- and so I, as an audience, was not *involved* and, in fact, found watching it hard because I always look for the visual clues I expect to see from an orchestra/performers/conductor. Not that body language is present in such a piece as yours (though it might be).

Several times (twice only?) I find the sounds on the recording intrusive. Maybe it’s just the first time I hear the mouth sounds or one other of the sounds.

Overall, the piece (the three poems set) is very engaging. So much music of this “type” is too distancing for me. I’ve tried listening to Glass, Reich, etc., but while I may like some of the pieces, the overall style and content does not draw me in. Yours has a different effect on me (finally!).

And I LOVE the ending (#62: “each luckiest of lucky days”). It’s captivating – and then it’s over. That kind of ending makes me long for more because it’s both un-final and puts a period on it nonetheless. The in-finality of the ending makes me re-think over all I’ve heard up to then, and THAT keeps me wanting more.

--John Elliott
Albany, Oregon

P.S.: Thank you.

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