Composer Samuel Andreyev answers viewers’ questions. Filmed 26 July 2024.
[00:00] Do you think improvisation is central to the compositional process? If so, how does a
composer become a mature improviser?
[03:57] How did you handle or learn to handle negative feedback on pieces during the earlier stages
of your music education? Are there any critiques from those years that you still think about
today?
[06:15] Where do you draw the line between inspiration and being derivative?
[09:38] Does ‘modernism’ still mean anything to you at this stage in history?
[12:12] Do you think people can study music professionally without going to music school or
conservatories?
[14:17] Do you think ‘isms’ are important to music in the 21st century, or do you think it’s more
important to approach it democratically/individually?
[16:12] Do you need to play an instrument to write for it?
[20:42] Could you recommend a book on writing for strings for real players?
[21:49] Have you ever had someone point out an aspect of your work that you yourself hadn't
noticed?
[25:21] I am a double bass player and I have noticed that you composed a solo piece for the
instrument. Where can I buy the score? What was the inspiration for this piece and what is the
process of composing a solo piece for an instrument you don’t play?
[26:55] Do you have to know music theory to appreciate 20th century avant-garde music, or is
sensitivity to music enough?
[27:47] Is important to learn ear training and harmony to prepare for
studying composition at a university?
[29:49] Why does it seem to be that Western European contemporary music still ignores musical
traditions from Africa?
[31:13] What needs to change for new ‘classical’ music to rise in popularity? And do you also
think it's the ‘fault’ of the music and the composers themselves, alongside many other factors?
[33:50] How does one create something that sounds contemporary?
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