In this episode, I’m excited to introduce Emily Koh, a Singaporean composer and bassist renowned for her groundbreaking work in microtonality. Now based in Atlanta as a professor at the University of Georgia, Emily is pushing the boundaries of contemporary music.
Hailed as “the future of composing” by The Straits Times, Emily’s works have been performed globally, and she has earned prestigious honors like the Copland House Residency Award. Her music blends intricate microtonal scales with innovative techniques, creating an otherworldly sonic experience.
In our conversation, Emily shares her journey into microtonality, starting with her early days as a bassist and a transformative trip to Bali, where she encountered Gamelan ensembles. We also explore how she composes microtonal music and her work developing custom instruments like the Microharmonic and ModμMIDI, which allow musicians to explore this complex sound world in new ways.
Whether you’re a fan of microtonality or curious about the future of music, this episode offers unique insights into the creative process behind Emily Koh’s extraordinary work.
Subscribe to “Music from Humans” for more insights into the lives of creators who make our world a richer place through their art.
Emily Koh is a Singaporean composer and double bassist known for her innovative approach to microtonality and timbral exploration. Now based in Atlanta, Georgia, she is an Associate Professor of Composition at the University of Georgia, where her work continues to push the boundaries of contemporary music. Her compositions, often described as otherworldly and intricate, focus on the subtle, detailed layers of sound.
Emily holds a Ph.D. in Music Composition and Theory from Brandeis University, along with MM degrees from the Peabody Institute at Johns Hopkins University. She also earned a Bachelor of Music in Composition from the Yong Siew Toh Conservatory of Music at the National University of Singapore.
Recognized globally, Emily has received numerous awards, including the Copland House Residency Award, the Young Artist Award from Singapore’s National Arts Council, and the Yoshiro Irino Memorial Prize. Her works have been performed internationally by prestigious ensembles such as the Talea Ensemble and Avanti! Chamber Orchestra. Her music has been described as “beautifully eerie” by The New York Times and “subtly spicy” by The Baltimore Sun.
Beyond her academic and creative work, Emily is passionate about collaboration, often working with artists across different disciplines. She has developed custom microtonal instruments like the Microharmonic and the ModμMIDI, allowing composers and performers to explore new musical territories.
The past few weeks have been filled with intense preparation for the November 2 premiere of my digital “tape” and orchestra piece. Collaboration is key at this stage, I started out by sending draft parts to performers to ensure playability and clarity of modern techniques. The feedback from musicians has been invaluable, particularly for the piano part, which needed revisions to better accommodate realistic performance demands, not all pianists are Franz Liszt. It’s essential to ensure that everything can be performed smoothly, and I’m fortunate to have such skilled musicians to help refine the piece.
Precision and Rhythmic Adjustments
With limited rehearsals before the performance, it’s essential that the score and parts are clearly notated to ensure smooth rehearsals. I’ve been meticulously reviewing the score, ensuring rhythms align with the conductor’s beat pattern, and all dynamics, rehearsal markers, and cues are in place. For better readability, I re-notated some sections using stemlets (extended beaming over rests).
Additionally, I’ve prepared program and performance notes to guide both the musicians and the audience, ensuring a cohesive interpretation throughout the performance.
Fine-Tuning Parts
Although notation software automatically generates parts, you frequently need to adjust them for readability and ease of performance. A lot of effort goes into laying out everything clearly on the page and ensuring smooth page turns, which was particularly challenging for the piano part. In this case, the pianist will likely need a page-turner. However, with more musicians using digital displays and foot pedals to turn pages, this issue is becoming less critical than it once was.
Digital “Tape” Synchronization
In addition to the score revisions, I created a video with the digital “tape” part for the conductor. This video counts out the beats, displays measure numbers, and includes rehearsal markers to help synchronize the orchestra with the digital “tape”. After sending a draft to the conductor, I’m awaiting further feedback to ensure everything runs smoothly during rehearsals.
Example of Video
Printing and Logistics
Yesterday, I had the score printed—90 pages at 11”x17”—and it cost around $60. Soon, I’ll be mailing it to the conductor. Thankfully, individual parts can be delivered electronically, saving time and costs. Managing the orchestra has been challenging, with last-minute changes in musicians and composers, requiring hours of reviewing scores, phone calls, and emails. Despite the time-consuming logistics, replacements have been found, and things are finally falling into place.
Looking Ahead
The digital “tape” still needs mastering, but I feel I still have time to address final tweaks leading up to the first rehearsal. I will need to start testing the equipment for the “tape” playback, including my PA and Mackie HR 824 reference monitors. I’m eager to see how everything comes together in performance.
This composition has been a long journey, and I’m excited to finally see it take shape. After much deliberation, I’ve settled on a title: Threnody for Democracy: What You Can Do. With only weeks to go until the premiere, it’s thrilling to watch this work move closer to its debut.
