21st Century Classical Music

21st Century Classical Music

In a world where classical music is often seen as outdated, "21st Century Classical Music" is a refreshing take on the genre. The album features a modern composer with a new perspective on classical music and its place in the 21st century. With a mix of traditional and contemporary pieces, the album will please both fans of classical music and those new to the genre.



In the early days of electronic music, composers often created their pieces by hand, using various hardware devices to create and control sound. However, with the advent of digital technology and the personal computer, a new way of creating music emerged – algorithmic composition.

Algorithmic composition uses a set of rules or algorithms to create music automatically. This can be done by writing code that generates musical scores or using software that can create and control sound in real time.

One of the earliest examples of algorithmic composition is the software developed by Max Mathews in the early 1960s. His program allows users to create music by drawing lines and shapes on a screen. The lines and shapes are then converted into musical notes, and the software plays them back in real-time.

Since then, algorithmic composition has become a popular tool for composers and musicians, and various software programs and applications allow for algorithmic composition. These programs can be used to create simple melodies and rhythms or to create complex pieces of music with multiple layers and textures.

The algorithmic composition can be used to create music in any style or genre and can be used to create pieces for any instrument or ensemble. It can also create soundscapes, ambient music, and even film scores.

Algorithmic composition

Algorithmic composition is a powerful tool for composers and musicians and offers a new and unique way of creating music. It is a great way to experiment and explore new ideas and can be used to create both innovative and original pieces.

Algorithmic composition is a technique used by composers to create music using algorithms. It is a computer-assisted composition in which the composer uses a computer program to generate musical material. The composer then uses this material to create a musical piece. The algorithmic composition has become increasingly popular in recent years, as it allows for greater creativity and experimentation in music creation.

Algorithmic composition is based on the idea that music can be created using mathematical formulas and algorithms. These algorithms can generate musical material, such as melodies, chords, and rhythms. The composer can then manipulate and arrange this material to create a musical piece. Algorithmic composition is often used in conjunction with traditional composition techniques, such as harmony, counterpoint, and form.

The use of algorithms in music composition has a long history. In the early 20th century, composers such as Arnold Schoenberg and Pierre Boulez experimented with algorithmic composition. In the 1950s, composers such as John Cage and Karlheinz Stockhausen began to use computers to generate musical material. In the 1980s, computer music programs such as Csound and Max/MSP began to be used by composers to create algorithmic music.

The algorithmic composition has become increasingly popular recently, allowing for greater creativity and experimentation in music creation. It can also create more complex and unpredictable music than traditional composition techniques. Algorithmic composition can be used to create music that is more abstract and experimental, as well as music that is more closely related to popular music styles.

Algorithmic composition is an exciting and innovative way of creating music. It allows composers to explore new possibilities and create unique and creative music. Algorithmic composition is a powerful tool for composers and is likely to become even more popular.


The Future of Classical Music

Classical music is one of the world's oldest and most revered forms of music. Though its popularity has waned in recent decades, many believe classical music still has a bright future.

One of the main reasons classical music's decline in popularity is its lack of accessibility. It can be difficult for the average person to understand classical music's complex compositions and arrangements. This has led to a perception that classical music is elitist and irrelevant.

However, many believe classical music can be revitalized with a few simple changes. For example, classical music could be more accessible to the average listener by incorporating more popular elements into its compositions. This could be done by incorporating more rhythmic and harmonic elements into the music or by using more modern instruments and arrangements.

Classical music could also be promoted more effectively to the general public. This could be done by staging more classical concerts and recitals and broadcasting more classical music on television and radio.

Finally, classical music could benefit from a renewed focus on education. This could be done by offering more classical music classes in schools and providing scholarships for young people to study classical music.

In conclusion, there are many reasons to believe that classical music still has a bright future. With a few simple changes, classical music can be made more accessible and relevant to the general public. It can also be promoted more effectively and given a renewed focus on education. These changes could revitalize classical music and make it more popular.



Music Arrangement Services

Music arrangement services involve creating a musical arrangement of a song or piece of music. This may involve adapting a piece of music for a different instrument or ensemble or rearranging a song to change its structure or style.

Music arrangement services can be provided by composers and arrangers with expertise in music theory, composition, and performance. These professionals may work with musicians, bands, orchestras, or other groups to create arrangements tailored to the group's specific needs and goals.

Music arrangement services may be used for various purposes, including adapting music for a specific performance, creating new versions of existing songs, or customizing music for a specific event or occasion.

Music arrangement services can be an essential resource for professionals who want to create unique and creative arrangements of existing music or adapt music to meet specific needs or goals.

Classical music arrangements are adaptations of classical music pieces for different instruments or ensembles. Classical music arrangements may be created for various purposes, including adapting music for a specific performance, creating new versions of existing classical music pieces, or customizing music for a specific event or occasion.

Professional arrangers with expertise in music theory, composition, and performance can create classical music arrangements. These arrangers may work with musicians, bands, orchestras, or other groups to create arrangements tailored to the group's specific needs and goals.

Classical music arrangements may be created for various instruments, including solo instruments, such as piano or violin, or larger ensembles, such as orchestras or choirs. Classical music arrangements may also be created in various styles, from traditional classical arrangements to more modern or contemporary ones.

Overall, classical music arrangements can be an essential resource for musicians and other music professionals who want to create unique and creative versions of classical music pieces or adapt classical music to meet specific needs or goals.



American Composer

American Composer

Patricio da Silva (1973) is an American composer noted for his eclectic and personal musical style. His diverse musical work includes compositions for instrumental, electronic, and algorithmic music. He has composed for the traditional concert hall, opera, theater, film, and multimedia.


Music Festivals

His instrumental classical music has been performed at major European and American concert halls and classical music festivals, including in the USA, the Tanglewood Music Festival, Ravinia Music Festival, Aspen Music Festival, Ojai Music Festival, and in Germany, the Schleswig-Holstein Musik Festival. Since 2010, his Guitar Concerto has been featured multiple times with the syndicated radio show "Classical Guitar Alive" with Tony Morris, totaling over a thousand broadcasts by over three hundred classical music radio stations from the USA and Canada, Europe to The Philippines.

Awards and Honors


Patricio da Silva's awards include the International Barto Prize for piano music, the Music for Tomorrow Prize, the composer in residence with the Berkeley Symphony Orchestra for two consecutive seasons, and orchestral music selected by the American Composers Forum for new American orchestral music repertoire. Commissions and support include, among others, Merryl Lynch, the Ojai Music Festival, the American Harp Society, Gould Foundation, Betty Freeman Foundation, Otto Eckstein Foundation, Ford Schumann Foundation, and Norton Stevens Foundation.




Music Education


As a young man, Patricio da Silva had two parallel music worlds. From age 7, he learned classical piano and was introduced to Iberian, German, French, Italian, and Russian repertoires. In addition, from age 10 through his early teens, he also played the flute in a community band. While the conservatory provided structured knowledge, the exposure to making music in a community band, side by side with local farm workers and glass artisans, gave da Silva a privileged, first-hand understanding of the social functions of music, with a repertoire ranging from classics' highlights to Sousa Marches, from passodobles (also, pasodoble) for the traditional Portuguese Bullfights to Processional and Religious Music.


Members of Banda Filarmónica da Maiorga
Patrício da Silva (flute, lower-right)

His music studies first started in his hometown in Alcobaca, Portugal, at the age of 7. He first enrolled at a conservatory at the age of 13 in Figueira da Foz studying piano with Beatriz Cardozo, a former pupil of Vianna da Motta, one of Franz Liszt's last disciples, and a virtuoso of international reputation, composer, conductor, and pedagogue.

Meanwhile, with his fellow band members, he went on to perform as a member of this community band all over Portugal. Many of the gigs included the typical religious processions of catholic cultures, parades, and concerts in outdoor venues, traditional concert halls, and bullfight arenas on the national TV station RTP. The young da Silva also took part in the Band's first international tour to Monaco and the south of France and took part in the 1st Centenary celebratory season.

Back at the conservatory, a piano audition at the end of his first year attracts the attention of Gilberta Paiva, a notable Portuguese music pedagogue. Two years later, at age 15, Patricio da Silva becomes her full-time student and assistant for the next three years, until college age.

With Gilberta Paiva, at the age of 17, Patricio da Silva won first prize in the National Piano Competition Maria Campina, graduated from high school at the National Conservatory School of Music in Lisbon and was admitted to the Lisbon College of Music that same year in the class of Jorge Moyano at the Lisbon College of Music, ranking 2nd place in piano, and 1st place in both Music Analysis and Composition. He graduated in 1994 in piano performance, officially enrolling in composition courses with Antonio Pinho Vargas.


Piano Recital by Patrício da Silva, Santarém, 1988
Patrício da Silva, piano recital, Santarém, 1988

20 Years in America


Patricio da Silva immigrated to the USA in January of 1996. He studied composition at the California Institute of the Arts with the founding fathers of the school: Mel Powell, Morton Subotnick, and Stephen Lucky Mosko. He attended the Darmstadt Music Courses in Germany in 1998 and in 2002 the Stockhausen courses. In 2003, he was awarded a doctoral degree in composition by the University of California, studying composition with William Kraft and electronic music with Curtis Roads at UC Santa Barbara, and concurrently, algorithmic composition and music with Artificial Intelligence with David Cope at UC Santa Cruz.

In 2003, da Silva moved back to Europe to proceed with his work on algorithmic composition and music with Artificial Intelligence, first with a post-doc at IRCAM (Institut de Recherche et Coordination Acoustique/Musique), in Paris, France, and a year later, on the Devon coast in the UK, with the support of the Portuguese Science and Technology Foundation, returning to California in 2005.

He holds both Portuguese and American citizenship.





Ojai Music Festival

The Ojai Music Festival Composition Prize is a prestigious award given to a composer in recognition of a new work that has been premiered at the Ojai Music Festival. The Ojai Music Festival is an annual music festival in Ojai, California, and features a diverse range of classical, contemporary, and world music.

The Composition Prize is awarded by a panel of judges, which typically includes music critics, composers, and other experts in the field. The prize is intended to recognize and support emerging composers' work and promote the creation and performance of new music.

Winning the Ojai Music Festival Composition Prize is a significant achievement for a classical composer, as it can bring recognition and attention to their work and help advance their career. The prize includes a cash award or other forms of support to help the composer continue to create and perform new music.

Overall, the Ojai Music Festival Composition Prize is an important part of the Ojai Music Festival and is a way to recognize and support the work of emerging composers.






Brother Can You Spare a Dime

 "Brother, Can You Spare a Dime?" is a popular song from the 1930s. The lyrics, written by Yip Harburg, and the music by Jay Gorney, were inspired by the Great Depression, a period of economic downturn and widespread unemployment in the United States during the 1930s.

The song became a hit when it was performed by Bing Crosby in 1932 and has since become a standard, covered by many artists over the years. The song's lyrics tell the story of a former soldier and war hero who has fallen in hard times and is asking for help. The song's chorus includes the memorable line "Brother, can you spare a dime?", which has become a popular expression in American culture.

Overall, "Brother, Can You Spare a Dime?" is a poignant and memorable song that captures the hardship and despair of the Great Depression while also offering a message of hope and resilience.

Brother Can You Spare a Dime is available as mp3, music video, and streaming.

The Great Depression lasted from 1929 to the late 1930s and was a period of economic downturn and widespread unemployment in the United States. The music of the Great Depression reflected the hardships and struggles of the time and the hope and resilience of the American people.

Many popular songs from the 1930s addressed the themes of the Great Depression, including poverty, unemployment, and the search for a better life. Songs like "Brother, Can You Spare a Dime?" and "We're in the Money" captured the mood of the time, while others like "Happy Days Are Here Again" offered a message of hope and optimism.

In addition to popular songs, the music of the Great Depression also included jazz, blues, and folk music, which often addressed social and political issues of the time. These genres provided an outlet for musicians to express their experiences and emotions during the Great Depression, and many of these songs have since become classics.

Overall, the music of the Great Depression was an essential part of the cultural landscape of the time and continues to be remembered and celebrated today.





Indian Restaurant Music

Indian Restaurant Music for Dinner Party


A Taste of India, with a Twist!

Indian music, with a modern twist! Indian Restaurant Music for Dinner Party Add some spice to your party with Indian restaurant music! Bring the flavor of India to your party with our restaurant music! Enjoy the taste of India with our unique restaurant music! We bring the flavor of India to your party with our special restaurant music! Our Indian restaurant music will make your party extra special! We hope you enjoy these Indian restaurant music tracks!

Indian Restaurant Music for Dinner Party on Spotify, Amazon, Youtube.






Indian Restaurant Music

Indian restaurant music is a term that refers to the music often played in Indian restaurants. This music can be a diverse range of genres and styles, and may include traditional Indian music, Bollywood film soundtracks, and other types of music that are popular in India. The music played in Indian restaurants may be instrumental or feature vocals, and may include a variety of instruments such as sitars, tablas, and harmoniums. The music played in an Indian restaurant may be intended to create a specific atmosphere or to provide background music for diners. It is worth noting that the music played in Indian restaurants can vary widely and may not necessarily be representative of all Indian music. 


Indian Restaurant Music


Indian restaurant music typically refers to music played in Indian restaurants or other establishments serving Indian cuisine. This type of music can vary widely and may include traditional Indian music, contemporary Bollywood or Indian pop music, or a mix of different styles. Some standard instruments that may be featured in Indian restaurant music include the sitar, tabla, and harmonium. The music played in an Indian restaurant may also be influenced by the region of India from which the restaurant's cuisine originates, as different areas of India have unique musical traditions. Indian restaurant music is often intended to create a pleasant and atmospheric background for diners and may be played at a moderate volume to allow for conversation.



Indian restaurant music refers to the music that is typically played in Indian restaurants. This can vary greatly depending on the restaurant and the type of music the owner or manager prefers. However, Indian restaurant music is often characterized by its use of traditional Indian instruments, such as the sitar, tabla, and sarangi, and vocals in Indian languages, such as Hindi, Punjabi, and Bengali. The music may also incorporate elements of classical Indian music, such as raagas and taalas, or more modern styles, such as Bollywood music. Indian restaurant music may also include fusion genres that combine elements of Indian music with other styles, such as jazz or electronic music. Overall, Indian restaurant music is meant to create a festive and welcoming atmosphere for diners and is often chosen to reflect the cultural traditions and flavors of the restaurant's cuisine.

Chamber Music International Virtual Concert Crimson Duo with music by Patricio da Silva


In a virtual concert presented by Chamber Music International, the Crimson Duo — with harpist Jaymee Haefner and violinist Matthew Milewski — will perform music by Patricio da Silva and other authors. The performance will be available online from Dec. 4 to 6. $65. 972-385-7267, chambermusicinternational.org .

Violin and Harp Music: American Harp Society National Conference

Contemporary Chamber Music for Harp and Violin by Patricio da Silva
Contemporary Chamber Music for Harp and Violin by Patricio da Silva

Crimson Duo made their New York City debut at the 2012 American Harp Society 50th Anniversary National Conference. The duo has performed concerts in Hong Kong, New York City, New Orleans, Atlanta, Colorado, and throughout the Dallas-Fort Worth area. Their recent feature at the World Harp Congress in Hong Kong (2017) led to collaborations with British composer, Paul Patterson. In 2016, the duo premiered a composition by Patricio Da Silva, made possible by a grant from the American Harp Society, Inc. Their inaugural compact disc single, Crimson, features works by Piazzolla and Saint-Saens. Their second compact disc will be available in 2019, featuring works commissioned by and written for this innovative duo. Currently, Jaymee and Matt are collaborating with Libby Larsen on a new work for harp and violin, called In Praise of Shadow and are collaborating with photographer Luke Mislinski to fuse visual and aural art forms in their concerts To see more of his work and the images associated with Crimson’s performances, visit his webpage at www.lukemphoto.com (click on “featured”) and the blog for his upcoming film at www.karmadocumentary.com


Violin and Harp Music by Patricio da Silva
Violin and Harp Music by Patricio da Silva


Jaymee Haefner is the Assistant Professor of Harp for the University of North Texas College of Music. Dr. Haefner serves as the World Harp Congress Treasurer, frequently writes for the Harp Column, and published The Legend of Henriette Renié and One Stone to the Building: Henriette Renie’s Life Through Her Works for harp. She also serves on the board of the American Harp Society Foundation and is on the editorial board for the American Harp Journal. She holds a Bachelor of Music and Master of Music degrees from the University of Arizona Fred Fox School of Music, and the Doctor of Music degree from Indiana University Jacobs School of Music.



Violin and Harp Music by Patricio da Silva
Violin and Harp Music by Patricio da Silva

Matthew Milewski is currently performing with the Dallas Symphony Orchestra. Before moving to Texas in 2010 when he joined the Fort Worth Symphony Orchestra, Mr. Milewski had been a full-time member of the Louisville, Grand Rapids, and Charleston Symphonies as well as performed and continues to perform as an extra musician with the Houston, New Orleans, St. Louis, Kansas City, Cincinnati, Indianapolis, and Nashville Symphonies. A dynamic performer, he studied with Julia Bushkova at the Interlochen Arts Academy and attended the Indiana University Jacobs School of Music, earning a performance diploma studying with Yuval Yaron. Mr. Milewski holds the Master of Music degree from the Manhattan School of Music.

"Schlinkepütz - eine Monsteroper", Musik von Patricio da Silva

“Schlinkepuetz - eine Monsteroper” for children met the laughing-nerve of the audience with pinpoint precision. A sequence of unbelievably dramatic events, for which Patricio da Silva has created a sound carpet with dozens of ragtime and Satie patterns for the piano. Great opera, of course.“
by Matthias Boll, Nürnberger Nachrichten




Pressestimmen "Schlinkepütz - eine Monsteroper", Musik von Patricio da Silva


"Schlinkepütz - eine Monsteroper", Musik von Patricio da Silva
"Schlinkepütz - eine Monsteroper", Musik von Patricio da Silva



Schlinkepütz - eine Monsteroper, Musik von Patricio da Silva
Schlinkepütz - eine Monsteroper, Musik von Patricio da Silva


Schlinkepütz, das haifischblaue Monster, lässt mal wieder auf sich warten: Eigentlich wollte es mit dem Pianisten und dem Erzähler zusammen musizieren, denn es spielt monsterlich gerne Triangel. Leider hat Schlinkepütz aber ein Problem, das nicht nur seine Mitmonster zur Verzweiflung bringt: monstermäßige Unpünktlichkeit. Die beiden anwesenden Künstler lassen sich jedoch auch von einem abwesenden Monster nicht erschrecken und machen das Beste aus der Situation, indem sie sich und dem Publikum die zotteligfantastischen Geschichten des Titelhelden erzählen und vorspielen. Mit „Schlinkepütz – ein Monster mit Verspätung“ adaptiert KULT zum zweiten Mal nach „Elefanten sieht man nicht“ ein Buch von Susan Kreller als Uraufführung für das Theater. Nachdem sie für ihren letzten Roman „Schneeriese“ im Jahr 2015 mit dem Deutschen Jugendliteraturpreis ausgezeichnet wurde, erfindet die Autorin in diesen Vorlesegeschichten voller Sprachwitz eine liebenswerte Identifikationsfigur für die kleinen Zuhörer, denn die Monstrositäten, die als „Hundsgemeinheiten“ angekündigt werden, entpuppen sich allesamt als die wohlbekannten, äußerst kreativen Verhaltensweisen von Kindern im Umgang mit Zeit, Ordnung und auch mit den Erwachsenen.
Workshop zur Inszenierung „Schlinkepütz“

17. Jun, 13.30 – 14.30 Uhr,
Treffpunkt: Eingang Kulturforum, Ort: Kulturforum, Große Halle
Teilnahme ab 6 Jahren
Keine Anmeldung erforderlich.
Leitung und Ansprechpartner: Johannes Beissel, Theaterpädagoge am Stadttheater Fürth