The 30x30x30 Project: A new music initiative supporting emerging composers of all ages and backgrounds
Meet The Composers
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"As a Coptic-American composer, my music synthesizes disparate influences, from Coptic Chant to experimental electronic music, resulting in as honest a representation of the intersectionality of my lived experience as possible. In this process of uncovering, rediscovering, and incorporating my upbringing into my music, I hope that what is reflected back to the listener is the understanding that all of the pieces of themselves too - though they may seem mismatched and unfitting at times - can fit together to create a beautifully individual and deeply meaningful sense of self."
“I am interested in looking at time through different lenses: unpacking notions of tradition, exploring memories of those past, and investigating nostalgic frameworks that lean forward. Lately, I've been honing a practice I call sonic archaelogy: excavating sonicultural relics such as records and other media used to hand down culture.”
“I am a composer who is interested in the intersection of culture, literature, and social justice. I believe that social recognition should become the basic instinct of a composer, so that most of my works find its expression in my reflection of society and humanity as a central point. In the past year, I completed a piece called "Why Can't We See the Rainbow!" for eight women’s voices speaking for China’s LGBTQ community. This piece was later recorded and produced by Katie Jenkins, performed by vocalists from New York.”
“As a woman, I struggled to ever see myself as a composer, especially during my elementary and teen years where every composer taught in school was a man (and a caucasian, heterosexual one at that). I would like to serve as a role-model for young women and other underrepresented groups, and really show that ANYONE can be a composer!”
“My creative practice blends historical and traditional music instruments and practices with 21st-Century soundworlds. As a genderfluid nonbinary person, hybridity and plurality are core experiences for me, and I express that through my music by queering time and tradition.”
“I strive to create music that connects a listener to the visceral imagination, energy, and transformation within narrative. Narrative, for me, is the inclusion of diverse and often conflicting perspectives in identity -- my music building starts in there as a point of inception. I started out my musical endeavors in Afghan folk music, and much later built on these valued experiences in the western classical tradition combined with my other love: mathematics.”
“My music is a city, inspired by urban design and explores core tenets of the New Urbanism movement, such as walkability, community-building, and avoiding placelessness. It prioritizes human expression and quality, reflecting the diverse layers of city life. From intimate interactions to cultural coexistence, my compositions mirror the vibrant experiences of city dwellers. Rhythm and groove echo the cyclical nature of urban existence. Like navigating a city, my compositional process explores the journey from idea to idea, considering how form shapes interpretation. Through my music, I encapsulate and reflect on the complexity and richness of contemporary life, inviting listeners on a journey through the urban landscape's tapestry of human experiences.”
“Because we now live in a hybrid world that almost everything is easily accessible online through multimedia, I aim to present my music by means that take advantage of this to the maximum possibility, which leads me to the trajectory of finding means to cooperate between art forms. Therefore, I am deeply interested in doing interdisciplinary projects that features music with the art of dance, visual arts and/or film making…etc. in the spirit of pursuing listening and visual experiences that are as comprehensive, compelling, and inviting as possible for the mass audience.”
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Composer Interviews
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Project Partners
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