Music
Original project imagery, documented credits and listening exercises that make room for your own discoveries.
Complete examples, a blank record to keep and a drawing that explains the decision.
Music / 01
Two instruments can make several musical jobs audible at once. Use this listening route to follow the exchanges between violin and bass, rather than treating the bass as background.
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Music / 02
Invention is a useful doorway into the Lark and Thurber collaboration. Bring a pencil, a short stretch of uninterrupted time and a willingness to listen more than once.
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A concert broadcast lets you move between performance and conversation. Treat the programme details as a map and your own notes as observations, not a substitute for those credits.
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A short film can change pace through sound before you consciously notice a cut. This exercise helps you describe that relationship without needing production software.
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The lowest line can anchor a piece, move it forward or become the melody. You do not need to name every note to follow those roles.
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A recording brief keeps a creative goal from turning into a vague equipment discussion. It tells collaborators what the session needs to produce and what remains open.
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Music / 07
A useful notebook preserves the conditions of an idea, not just the idea itself. It helps you pick up a fragment later without pretending every fragment is a finished song.
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A season announcement, a concert date and a recording release describe different things. Reading the credit precisely is more useful than compressing them all into a claim that an artist “did the music”.
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Music, words, orchestration and musical direction are different jobs. A dated programme helps you see how a production is put together without reducing the whole collaboration to one name.
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A theatre score can help an audience feel a change of place, pace or relationship. Build a listening notebook that records what you notice while keeping production facts separate.
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Music / 11
A Public Theater interview offers a concrete way to distinguish a composer’s choice, a performer’s contribution and an audience intention.
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Music / 12
Read the 18 March 2021 premiere programme, then use a cue sheet to follow the relationship between spoken drama and music.
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Tessa Lark and Michael Thurber. Photograph by Lauren Desberg, published in the Philharmonic Society’s 2024 release.
For an active listening session, begin with the bass examples, then keep a comparison in the songwriting notebook. A useful note identifies the exact example and one audible change rather than rating an entire recording from a short excerpt.
Browse the recording index ↗Biography & official links ↗