Skip to main content

NMR Artist Spotlight: Composer Molly Joyce and the Dollhouse

Emerging New York-based composer Molly Joyce composes and performs regularly with the ensemble Fekta, an eclectic musical group that includes violin, keyboard, electric organ, and bassoon. Molly Joyce shares notes about her work Dollhouse, chats about the importance of networking and social media today, and tells NMR readers what's next for the exciting young composer.

NMR: What made you choose to pursue music? Who are your mentors?
I think when I first chose to pursue music seriously I didn't exactly know why or what exactly made me so attracted to it. 

However, the older I get the more and more I realize that I am truly and honestly addicted to music, sound...  

I am of course addicted to writing music, as it is the easiest and hardest thing I know how to do, which is how I realize now why I have chosen to pursue it as a career and life.

I have been very lucky to have had many amazing and encouraging mentors throughout my career so far. I was born and raised in Pittsburgh, PA and was very fortunate to be surrounded and mentored by great composers in that area such as Mathew Rosenblum, Nancy Galbraith, and Jack Stamp. Since I have moved to New York, I have also been very grateful to be mentored by such composers as Missy Mazzoli and Samuel Adler, and in addition since I have been working for New Amsterdam Records, many composers involved there such as William Brittelle, Judd Greenstein, and Sarah Kirkland Snider have always been very helpful to me.

NMR: Where do you find your inspiration?
I seem to find inspiration from everything and anything these days. I've lately been obsessed with dancing/dance floors and what that might mean musically. I also often find inspiration from other composers and musicians, but I also love all kinds of visual art, dance, and poetry. In addition, I feel that I get a huge source of inspiration from living and interacting with New York City everyday. 

NMR: What inspired your work Dollhouse?
I wrote Dollhouse during the summer after my first year of college, and thus I had many conflicting and reflective thoughts about myself and my choice of career as a composer. I began to think about my life and others' lives as all unique Dollhouses at the core, and how such crucial choices and decisions in our lives are perhaps predictable within our own structured environments while other aspects of our evolving lives aren't foreseeable at all. I reflected upon my journey as a composer, and how integral this creative art is to my daily existence yet how long it has taken me to accept this uncertain, enriching role that I never fully imagined for myself. Through this introspection, I became obsessed with the concept of a Dollhouse, in every implication of this word, and decided to write this piece as my interpretation of such a complex idea.

NMR: Any practical advice for emerging musicians today regarding creativity, performance, marketing?
First, I highly advise lots of networking whenever/wherever possible. You never [know] who is in the room and who can help make things happen for you. 

I feel that the field of music will only progress and advance when there is a community of musicians, composers, etc. advocating for each other out there, and one of the places this starts is with networking.

In addition, I feel that having a website with links for my music, upcoming events, etc. has helped me hugely. It is very effective to have one site where people can go and find out hopefully everything they need to know about a musician. Lastly, I feel that social media is very important in today's music world. It's a great way to network and connect with your fans, and therefore further get exposure for one's music.

NMR: What's in the future for Molly Joyce?
Hopefully lots of music making! I have recently started performing more on my vintage electric chord organ (out of tune, eBay bought - totally vintage) and my keyboard electric organ. I find it very liberating and artistically satisfying to perform my own music solo and with some of best friends. I feel that it helps break down the barrier of who exactly a composer is to an audience, and in addition I feel that it it helps me realize my musical ideas to a greater extent. My group's name is Fekta, and our instrumentation is violin, keyboard, electric organ, and bassoon. We had our first show about a month ago and we will hopefully continue performing in all sorts of venues and places. I also plan on completing commissions and projects for and with various collaborators and performers. As of now I have just finished a piece for members of The Declassified, and am moving on to write a solo violin and electronics piece for the wonderful violinist Adrianna Mateo and her project, {NUE|LUSH}.

Enhanced by Zemanta


Popular posts from this blog

Top 10 Mistakes When Writing for Percussion

Top 10 Mistakes When Writing for Percussionby Sabrina Young
10. Indicating the wrong mallets for an instrument.Brass mallets on vibes? Try a hammer on a violin!

9. Writing the glockenspiel part as heard.You shouldn't have to climb a ladder of leger lines to read a glock part. Keep it in the staff.

8. When in doubt, adding more suspended cymbal.This is a huge mistake made by arrangers. Yep, cymbals add automatic intensity to a piece, but so can a bass drum roll, a rousing hand drum part, exciting mallet licks, or a hundred other combinations. Well-written percussion parts stand out in the band and church repertoire.

7. Better means more complicated, right?This is my main mistake. A percussion part can be simple enough for a middle school, but it is the ability to use the different tone colors of the percussion palette properly that indicates a maturity in writing, not that impossible part for the timpanist that has them playing timpani, gong, crash cymbals, and triangle in the span of…

Music Industry Insider: 50 Ways to Make Money as a Musician

50 Ways to Make Money as a MusicianWant to have a musical career but not sure how to make money as a musician in today's market? Well, first you need to redefine your goals as a musician and realize that like any job, being a musician involves a lot of work, perseverance, and talent. And in today's Digital Age, you need to be able to combine your skills to help you make a living as a musician. You will probably need to select at least a dozen forms of income and micro-incomes in order to make a full time living as a musician or choose a primary steady gig and add on other projects (what most musicians have done for centuries). 

Each method of making money has a $, $$, $$$ or S for work that will make you a little pocket money ($), possibly significant money - hundreds to thousands ($$), at least part time or possible full time work ($$$), or is steady work (S). Notice that none of these options involve making millions of dollars so you can drive around in a diamond-crusted limo…

Top 5 Tips Submitting Your Indie Film to Film Festival in 2019

Top 5 Tips for Film Festival Submissions in 2019 You just finished your film! So now what? Sure, you can show your friends and family, even put it up on YouTube. But why don't you try getting it out to a much wider audience? Indie filmmakers and student filmmakers can have their movies shown around the globe at film festivals.

Film festivals run the gamut of red carpet affairs like Sundance and Cannes to more local events, online festivals, and university-led events. For example, in Buffalo, there are a number of incredible film festivals like the Buffalo Dreams Fantastic Film Festival (a local film fest that has a special love for all horror and science fiction), the NCCC Film and Animation (a great venue for students and local film networking), and other film festivals like the Buffalo International Film Festival and the 48 hour Film Festival. 

The 48 Hour Film Festival is a worldwide phenomenon where filmmakers get together and create a film in, you guessed it, 48 hours! Best of …