myra moreta

It is my belief that our contemporary music stems from music of the world, not limited to the western world. I write chamber music, compose for film and dance, work with photographers, write songs, and arrange traditional music for new ensembles.

Apparent in my compositions is the impact that world music has had on my music education. In my undergraduate career at CSUN I studied music composition for film with Elizabeth Sellers (CSUN), classical guitar with Dr. Steven Thachuk (CSUN). I also studied Zimbabwean mbira and marimba music with Dr. Ric Alviso and attended seminars and workshops with visiting artists from Zimbabwe including Irene, Julia, and Tute Chigamba.

It was this different way of thinking about music performance, composition, and education that fascinated me and I later performed, toured, and recorded Zimbabwean and Latin American music with Ric Alviso's marimba ensemble, Masanga, participating in various music festivals as a performer.

In my own work, I have chosen to create new pieces for ensembles with the mbira. I have written for the mbira with string ensemble in a way that remains close to Shona patterns (length of phrases and form) as in "Chance Distribution", allowing the listener to hear the timbre of the instrument and using 2 mbiras. More recently I have written for the mbira as a member of the ensemble, not necessarily a solo instrument as in "Infiltration I". Some of the rhythms commonly associated with the mbira are then heard in the string parts instead of the mbira.

My work also reflects the time I spent studying with Tzvetanka Varimezova as well as performing with the UCLA Bulgarian Women's Choir, Superdevoiche. The rich, close harmonies of these choral works and the odd meter of Balkan music can be heard as an influence on my chamber pieces, film scores, and songs. I recently created "Sun and Cement" with Carolyn Smith (guitarist) and myself (banjo) to perform our own arrangements of Bulgarian songs and older Negro Spirituals from the US. In Seattle 2010 we were graced with the presence of violinist Israel Heller and the group can be heard under the "songs" section performing Vecherjai Rado, Lalesi, and original music. I find collaboration with other musicians very creatively stimulating and invite instrumentalists seeking arrangements or original work to contact me.

I often incorporate instruments outside the scope of traditional musical instruments, using childrens' toys or household items in my work. The film score "Dementia" is laden with wine glasses, toy zithers, and bell-like toys. The solo soprano piece "For Tara, With Love" is an example of how non western techniques can be applied in contemporary music. The challenge with this piece was to create a work for a solo monophonic instrument that takes the listener through a variety of emotions in a creative way.

I am currently studying Turkish music and the Oud with Nuri Karademirli in Berlin. Previously, I studied Oud in Vancouver B.C. with Serwan Yamolky which inspired the third movement of "Infiltration". I am interested in use of quarter tones and ornamentation. I have performed at Worldfest 2008, Festival of Sacred Music 2006, Bulgarian National Radio Sofia performance hall, and has given workshops with Masanga at the Hollywood Bowl. My original film scores and compositions have been heard at Silverlake Film Festival, Hot Air New Music Festival 2010, and broadcast on Colorado's KGNU radio station and KXLU in Los Angeles.