for orchestra and multimedia
Music by Anthony L. Sanchez (b. 1988)
Copyright © 2025 by ZEKE SPILLED INK MUSIC (ASCAP), Savannah, GA
VST playback for acoustic sections via MuseScore 4
The "study score" for this piece is available now on Patreon: www.patreon.com/posts/symphony-in-age-144935593
Text for electronic voice in "Movement IV" written by the composer via the Text2Speech "Public Domain" website
Photograph by the composer- Edited using YouCut (app)
Music created and edited using MuseScore 4, Reaktor 6 Player (Native Instruments), and Audacity
Movements:
I. Premonition 0:00-6:12
II. Disturbances 6:13-14:32
III. Intrusion 14:33-18:53
IV. The Struggle for Humanity 18:54-24:53
Program Notes:
My Symphony (2019-2025) functions as an electroacoustic composition with a dual purpose. I experiment with the symphonic orchestral format for audiences in the twenty-first century. The large-scale work also offers a prescient social commentary concerning the dangers associated with increasingly invasive and excessive use of technology in the arts. The subtitle for the piece, “In the Age of Artificiality” refers to the current influx of technology powered by Artificial Intelligence. While I initially did not set out to compose an electroacoustic symphony when I began working on the piece in 2019, that idea became more necessary when considering that AI-generated materials (including visual arts and music) started gaining more public attention in the 2020s. Things had gotten the point where it became difficult to differentiate between reality and the imaginary, between music made by humans and music generated entirely by a computer algorithm. Such technology had also become normalized and perceived by myriad companies as a replacement for human creativity and effort.
That grim reality did not sit well with me. Bearing the situation in mind, I wrote the Symphony to demonstrate what would happen if the orchestra conductor gradually got replaced by invasive technology… and humanity fought back. I created four movements that begin as traditionalist symphonic music and gradually transform into a conflict between acoustic and electronic musical elements, leading to a electronic voice that attempts to replace the orchestra conductor by interrupting and manipulating the orchestra. I chose to end the piece with the conductor regaining control of the orchestra and effectively “killing off” the electronic voice to illustrate that humans can still have the power within themselves to try and create or interpret music and other art forms.
Music by Anthony L. Sanchez (b. 1988)
Copyright © 2025 by ZEKE SPILLED INK MUSIC (ASCAP), Savannah, GA
VST playback for acoustic sections via MuseScore 4
The "study score" for this piece is available now on Patreon: www.patreon.com/posts/symphony-in-age-144935593
Text for electronic voice in "Movement IV" written by the composer via the Text2Speech "Public Domain" website
Photograph by the composer- Edited using YouCut (app)
Music created and edited using MuseScore 4, Reaktor 6 Player (Native Instruments), and Audacity
Movements:
I. Premonition 0:00-6:12
II. Disturbances 6:13-14:32
III. Intrusion 14:33-18:53
IV. The Struggle for Humanity 18:54-24:53
Program Notes:
My Symphony (2019-2025) functions as an electroacoustic composition with a dual purpose. I experiment with the symphonic orchestral format for audiences in the twenty-first century. The large-scale work also offers a prescient social commentary concerning the dangers associated with increasingly invasive and excessive use of technology in the arts. The subtitle for the piece, “In the Age of Artificiality” refers to the current influx of technology powered by Artificial Intelligence. While I initially did not set out to compose an electroacoustic symphony when I began working on the piece in 2019, that idea became more necessary when considering that AI-generated materials (including visual arts and music) started gaining more public attention in the 2020s. Things had gotten the point where it became difficult to differentiate between reality and the imaginary, between music made by humans and music generated entirely by a computer algorithm. Such technology had also become normalized and perceived by myriad companies as a replacement for human creativity and effort.
That grim reality did not sit well with me. Bearing the situation in mind, I wrote the Symphony to demonstrate what would happen if the orchestra conductor gradually got replaced by invasive technology… and humanity fought back. I created four movements that begin as traditionalist symphonic music and gradually transform into a conflict between acoustic and electronic musical elements, leading to a electronic voice that attempts to replace the orchestra conductor by interrupting and manipulating the orchestra. I chose to end the piece with the conductor regaining control of the orchestra and effectively “killing off” the electronic voice to illustrate that humans can still have the power within themselves to try and create or interpret music and other art forms.
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