by Jules de Bouverie Audio version available here. I have three legal names and countless nicknames. From those names I have been called many different names at different points in my life. Growing up and through undergrad I was called a short-hand version of my middle name. My first name was also my father and uncle's name…so one less of that. I actually didn’t realize my first name was my first name until a moment in middle school. I was called into the main office and told

by Jules de Bouverie This isn't a poem We must be perfect Our music must be Exciting from beginning to end and End to beginning before we've even had a beginning We must make people Excited about our music from before We've even started composing it and People must be excited about the composition Long after it's been performed We are not allowed to be Boring for one second We can't fail We can't be too loud Or too brave Can't be controversial We can't show too much Brownness

by Jules de Bouverie Click here for the audio version. CW: Racism, white supremacy, ableism, PTSD, abuse Abstract In this article I will share the emerging intersectional methodological framework I have developed for my PhD project at the Royal Conservatoire of Scotland. The project, titled A violent accumulation of identifications: composing in/through/with the Latina/o/x diaspora, includes a portfolio of compositions, narrative portraits of seven Latina/o/x participants,

by Jules de Bouverie, MFA Click here for the audio version. Abstract Content warning: Rape, abuse, harassment, white supremacy I write this article in response to a letter and survey sent out on 31 August 2023 by North Carolina WCPE's general manager Deborah S. Proctor. I also write this article to compliment the Tsioulcas (2023) article in which Tsioulcas and NPR gave Proctor a national platform without challenging or contextualizing Proctor's white supremacist behaviour

by Jules de Bouverie Click here for the audio version of this article. I recently posted an article about the dangers in having ambiguous EDI institutional statements and the harm that these do to marginalised artists (https://diazsounds.wixsite.com/my-site/post/constructive-ambiguity-in-edi-statements-of-western-european-classical-music-organisations). What is most harmful about ambiguous EDI statements is that there is no way to have accountability within an institution if

This is a poem I'm working on for a piece of mine. It is in-progress and am still hoping to expanding it a bit more. by Jules de Bouverie Click here to listen to the poem. eat filth sing with mud and scorched clay hands in onion fields scorched clay hands remembered buried violence The blood and sweat of immigrant workers next to our corn and your kale shriveled will, desiccated will corn and kale on stolen land exploited land the desire for land but not people the soil playi

by Jules de Bouverie *Please note that this article is in-progress and will have mistakes as well as two different citation styles. Click here for the audio version. Abstract In this article I apply the notion of ‘constructive ambiguity’ to the EDI statements of several western European Classical music organisations and ensembles. I analyse how constructive ambiguity can be and is used to avoid accountability and true meaningful investment in historically marginalised communi

Free writing session on debugging the canon by Jules de Bouverie CW abuse, depression, self-harm, CPTSD Click here to listen to the audio version. I’ve been thinking a lot about the ways the dead white male canon affects performers and what it means when I ask a performer to play my music. We know through US orchestral statistics that in the 2021-2022 season the dead white male canon comprised of about 60% of programming. I don’t think this reliance is new to any musicians wh

This is a redraft of my PhD dissertations' introduction. I tried to be as concise as possible and kept it to two pages. We'll see what this version morphs into! There is also an audio version available below. by Jules de Bouverie There are many factors that may influence a sound artist’s creative practice in Western European Classical Music (WECM). Zembylas and Niederauer write in their book that when asked about their education and process, composers ‘find themselves in a cu

This post is an early draft of my PhD dissertations' introduction. Would love to hear your thoughts! Some citations are still missing. by Jules de Bouverie Staff-based notation most readily supports the aesthetics and performance practices of Western Classical Music (WCM). As a legacy of colonialism, it is the most prevalent form of notation taught in conservatoires and universities not only in Europe, where it originated, but also throughout the Americas, in Australasia, and