5115 research outputs found
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Can\u27t Boys Be
No full textSyber Sider is an interdisciplinary music and storytelling project set in a fictional universe where emotions, identity, and music collide like soda under pressure. The universe is a mirror of youth’s emotional alchemy — a place where soft, sparkly, and non-conforming identities are seen not as flaws, but as powers. Within this world, the subproject Can’t Boys Be focuses specifically on the empowerment of feminine boys. Through a series of original songs, visual storytelling, and character-driven content, the project explores the unique struggles they face — from societal policing of gender expression to internalized shame — and reclaims their softness as strength. The music serves as both a soundtrack and a statement, turning vulnerability into something volatile, fizzy, and full of life. The universe is also visually expressed through animated characters and symbolic soda-bottle motifs, blending emotion, aesthetics, and sound. At its core, Syber Sider challenges rigid binaries and encourages young people to embrace their true, strange selves — before they fizz over.https://remix.berklee.edu/graduate-studies-cmat/1141/thumbnail.jp
Marlise! / Madame X
No full textMARLISE! When a fading Hollywood star Marlise Mattox is framed for murder, she must join forces with her obsessive fan, Arnold Berman, to clear her name and solve the crime. Set in the nostalgic 1950s Hollywood. MADAME X: When rumors swirl about John Singer Sargent’s secret romance with his male muse, the famed painter hatches a bold plan: paint the most beautiful woman in Paris and let the world believe she’s his lover. But the cover-up backfires, igniting a scandal that threatens his art, his love, and his legacy.https://remix.berklee.edu/graduate-studies-cmat/1188/thumbnail.jp
World Collapse
No full textWorld Collapse is a five-track concept EP and multimedia experience created by Jingyao “Bill” Cheng during his M.A. in Songwriting & Production at Berklee NYC. Sparked by escalating war and natural-disaster headlines, the project fuses cinematic hip-hop, metal, ambient glitch, balladry, and traditional Chinese instruments—including pipa, guzheng, and yangqin—to trace humanity’s search for hope amid devastation. The different stories from songs, Distortion-versus-fragility contrasts, Auto-Tune, and seismic 808 build the tracks into a “film in sound” that aims to dissolve linguistic and cultural boundaries while rebuilding trust through art. Cheng wrote, produced, and mixed all music, directed five lyric videos, painted the cover art, and designed NFC-enabled merch that extends the narrative beyond stereo speakers. A staggered rollout from September 2025 through May 2026 will unveil each single with complementary glitch-art visuals, inviting listeners into an evolving cross-media meditation on collapse and renewal.https://remix.berklee.edu/graduate-studies-cmat/1119/thumbnail.jp
Things I Shouldn\u27t Have Said
No full textThings I Shouldn’t Have Said is a 5-song alt-pop EP the debut release of Lisa as a solo artist. Sonically rooted in a blend of rock, electronic, R&B, indie, and dream pop, the project merges textured, atmospheric production with introspective, cathartic songwriting that leans into confessional honesty. Primarily self-produced, the project features a mix of organic and digital elements: real guitars, bass, and vocals layered with in-the-box production techniques. Three of the five songs were co-written, and two involved collaborative production, while the remaining tracks were solely written and produced by Lisa, which makes the EP a balance of personal storytelling and creative partnership. Across all tracks, the lyrics confront complex emotions with rawness and unfiltered candidness, pushing into a space that’s called “brutal honesty”.https://remix.berklee.edu/graduate-studies-cmat/1133/thumbnail.jp
Confronting Negativity: Self-Directed Recovery through the Utilization of Music
No full textThis Culminating Experience project, Confronting Negativity: Self-Directed Recovery through the Utilization of Music, explores how music can facilitate healing from physical injury, racial trauma, and emotional distress. Combining traditional Korean music and global jazz practices, I employed the ajaeng and jazz idioms to compose and perform original works. The project stemmed from personal and systemic challenges I experienced as a musician, particularly overuse injury and racial discrimination. As an Asian artist in the United States, I encountered both explicit and subtle racism, which significantly impacted my emotional well-being and creative voice. To support my recovery, I incorporated physical therapy, Alexander Technique training, and daily meditation. These practices helped restore physical function and supported emotional resilience while enhancing musical sensitivity. I developed four original compositions as central reflections of this journey: “The World Where I Want to Live In” conveys hope and cultural identity; “Illusion Kaleidoscope” explores meditative perception; “Intelli Coocoo” critiques covert racism; and “Honk & Riffs” reclaims public space through sound. This project contributes to global jazz and music therapy by proposing a holistic model of self-directed recovery and musical activism. It reaffirms music’s power as a tool for healing, cultural expression, and community engagement.https://remix.berklee.edu/graduate-studies-global-jazz/1183/thumbnail.jp
Reassessing Haydn’s \u3ci\u3eOrfeo\u3c/i\u3e in the Theatre
Get PDFHaydn’s last opera, L’anima del filosofo (The Soul of the Philosopher), is a highly unusual retelling of the Orpheus myth. Written for London in 1791 to a libretto by C. F. Badini, the opera was never staged during the composer’s lifetime. Shut down in rehearsal and banned from performance, the opera never reached the stage because many of its themes—including the apocalyptic storm at the end—piqued British anxieties towards events unfolding in revolutionary France. The opera finally premiered in 1951, with Maria Callas singing the role of Euridice. Universal Edition prepared the performing material from sources photographed behind the Iron Curtain; but the publishing firm forbade broadcasts of performances, silencing Callas and curtailing wider dissemination. Subsequent European productions by Joan Sutherland and Cecilia Bartoli helped promote the opera, but Jürgen Flimm’s directorial vision for Bartoli’s theatrical performances with Harnoncourt and Hogwood is both mystifying and visually troubling. North America, meanwhile, only saw concert performances of this remarkable Orfeo.
This article by the conductor/keyboardist and dramaturge/producer, who brought Haydn’s Orfeo to the stage in North America in 2023, offers new insights into the mature Haydn’s musical and theatrical talents. Orfeo benefits from a deeper appreciation of Haydn’s skillful use of late-eighteenth-century musical rhetorical styles and a better understanding of the opera’s problematic reception history. An intelligent staging that foregrounds the myth and failed liberation while also emphasizing themes of warmongering and environmental degradation—both of which resonate with modern-day audiences—further inform our understanding of the opera’s many strengths, showing this tender, timely, and utterly terrifying work in new light
