CURRENT PROJECTS
Scott recently completed a concert-length work called A Map to the Next World for choir, 9 strings, percussion, and celesta. The subject of the piece is environmentalism and uses words by an incredible cast of poets and activists: Tamiko Beyer, Rachel Carson, Harold Courlander, Joy Harjo, Rachel Morgan, Jay Parini, and Judith Wright. The premiere will take place in May 2025 by an ensemble to be announced soon, so stay tuned for more details!
Scott’s current projects include a multi-movement work for choir, mezzo-soprano, and piano on the subject of suicide prevention for the choirs at California State University, Sacramento, where he teaches; and a suite on winter themes for the South Bend Chamber Singers, the ensemble-in-residence at Saint Mary’s College in Indiana.
Perhaps Scott’s most substantial project is a music theory and musicianship textbook. Long in the making, this book will be presented entirely digitally in the form of video lessons, apps for practicing skills, and built-in assessments, along with materials for workshop-style classes. The principal features of the textbook are:
It takes a holistic, global view of music theory and practice, focusing on flexible analytical tools and broadly applicable skills essential to a contemporary musician in a pluralistic society. Accordingly, it engages many venerable musical traditions, Western and non-Western, in an egalitarian way. This is different from an approach that incorporates elements of non-Western music into a Western music curriculum, which suggests that the former is somehow inferior to or should be subjugated by the latter.
It brings much-needed diversity and inclusion to music theory and musicianship study by focusing on music created by BIPOC and heavily favoring work by female-identifying and LGBTQ musicians.
The curriculum engages the following genres, thus far: Afro-Cuban; Arabic; Carnatic; gospel; Hindustani classical; jazz; Sephardic; hip hop; Turkish; and Western classical (mostly contemporary), film, and folk (e.g., Appalachia and the British Isles).
The approach to analysis is like the approach to repertoire outlined above in that it does not assume the superiority of Western classical music. Much of the music is indigenous to BIPOC cultures, and not simply a selection of Western classical music that happens to have been created by people who are not cisgender, white men. Furthermore, the theoretical framework finds roots in the work of a variety of music theorists from around the world; it is not an approach that views a diverse body of music strictly through Western lenses via Eurocentric theories.
It takes an overwhelmingly practical, creative, and active approach to music study, such that students who follow this curriculum are constantly learning and doing things that directly influence the way they make, teach, and listen to music. This approach is informed not only by Scott’s research, but also by his experience as a composer, his career as a tenor, and his ongoing study with a renowned Hindustani vocalist and an acclaimed Arabic qanunist, singer, and oud player.
There will be optional, supplemental modules that can inform the principal topics of the book, including profiles of famous performers, composers, and improvisers; lessons on identifying instruments used in the curriculum’s repertoire; diction lessons for non-English languages (e.g., Arabic, Cuban Spanish, Hindi) that may be found in the lyrics to vocal music; and annotated scores and archival recordings with commentary for reference.
REVIEWS OF “A New England REQUIEM”
The reviews of Scott’s newest album are overwhelmingly positive! One reviewer refers to the title piece, “A New England Requiem,” as ”a new masterwork;” another describes the piece as ”ethereal” and “imaginative;” and another calls the work “moving and deeply expressive.” All reviewers have been unanimous in their praise of the performances. Order your copy today!
“A New England REQUIEM: SACRED CHORAL MUSIC BY Scott Perkins”
Gothic Records has released the first full-length album of Scott’s sacred choral music, including his multi-movement work A New England Requiem. Conductor Brett Judson, organist Tom Mueller, and singers and instrumentalists from the Los Angeles area joined forces to record the disc in September 2019. The album has been distributed worldwide and can be purchased directly from this website.
NEW PUBLICATIONS
E. C. Schirmer, a division of ESC Publishing, recently released three of Scott’s works for publication: Instruments, The Lord’s Prayer, and When You Are Old. The last of these was released on Scott’s debut album, “The Stolen Child: Choral Works of Scott Perkins,” and The Lord’s Prayer was released on ”A New England Requiem: Sacred Choral Music by Scott Perkins.”
Augsburg Fortress, the publisher for the Evangelical Lutheran Church in America, recently released its fifth and sixth anthems by Scott: Blessed Rest and You, God, Are My Light. The publisher describes Blessed Rest as a “flowing, lyrical anthem appropriate for All Saints, funerals, or any time of remembrance. Unison passages balance beautiful harmonic progressions, providing an accessible work for most choirs.” Of You, God, Are My Light, Augsburg writes: “Choirs will enjoy singing this setting of Psalm 27, but organists especially will delight in the colorful and imaginative accompaniment that sparkles with jubilant energy.” Listen to the pieces on ”A New England Requiem: Sacred Choral Music by Scott Perkins,” and order your copy of the scores on Augsburg’s website.
Scott also began a relationship with Paraclete Press, which recently published his The Wonders of Thy Grace, also included on ”A New England Requiem: Sacred Choral Music by Scott Perkins.”
“WHISPERS OF HEAVENLY DEATH”
Scott’s second CD was released by Navona Records on November 9, 2018. “Whispers of Heavenly Death” features eight sets of songs Scott wrote between June 2001 and February 2017. Featured artists include pianist Éric Trudel, soprano Jamie Jordan, mezzo-soprano Julia Mintzer, tenor Zachary Wilder, baritone Dashon Burton, and flutist Helen Park. The contents include Scott’s Spring and All (2001–2005), Holy Sonnets of John Donne (2005–2016), Dogen Songs (2006), Riddle Songs (2007–2008), Three Songs for Autumn (2009), Soir d’Hiver (2016), Three Songs for Summer (2016), and Whispers of Heavenly Death (2016–2017).
“THE STOLEN CHILD: CHORAL WORKS of SCOTT PERKINS”
On January 13, 2017, Navona Records released Scott’s debut full-length CD, “The Stolen Child: Choral Works of Scott Perkins.” The disc features performances by Audivi of three of Scott’s large choral works: A Word Out of the Sea, The Stolen Child, and The World of Dream. Pick up or download your copy today through Amazon, Barnes & Noble, ArkivMusic, or iTunes; or listen on Spotify. Previews are available on Scott’s audio page and on Navona’s website.
Read what critics are writing:
“[Perkins’s] material exudes an ethereal character, especially in the title piece, that leaves an indelible imprint. . . . Especially haunting is the six-movement title work (2006), in which a magical being attempts to protect a child from future sorrows by spiriting it off to the natural world. . . . There’s a sultriness to Perkins’ melodies that’s potent enough to seduce an adult, let alone a less worldly child, and one repeatedly basks in the glorious effect of the cascading vocal melodies, regardless of whether the movement’s character expresses the liveliness of youth (“To a Child Dancing in the Wind I”) or the wistfulness that sets in as the end draws near (“When You are Old”). Structurally the work impresses, too, with Yeats’s title poem framing the four inner movements, which constitute a life cycle, with prologue and epilogue treatments. . . . Each of the three settings feels modern in its compositional design yet at the same time very much connected to the longstanding traditions of choral music. Though there’s a natural fluidity to the vocalizing that ties it to writing of the past, Perkins’ beautiful settings never feel anything less than contemporary.” —Textura
“Perkins’s “neo-modal” language is balanced and fluid. His compositional technique is exquisite. . . . His music is saturated with images and he succeeds in maintaining a scrupulous respect for the word. . . . Perkins captures musically an emotional portrait that reflects the aspirations of these three poets with great expressive power.” —Sonograma Magazine (translated from the original Catalan)
“Scott Perkins builds an intricate world with his choral collection The Stolen Child. . . . These are three very different works which [complement] each other beautifully. [A] Word Out of The Sea is arguably this album’s most haunting inclusion, whilst The World of Dream represents a collection of dreamy, floaty pieces. For me The Stolen Child is easily the most beautiful and pleasing segment. This is an incredible choral work that delivers more intimate themes the more you listen to it. 10 [of 10].” —Darren Rea, Review Graveyard
“The textures of Perkins’ choral music are clearly contemporary, and some of his techniques (such as his elaboration of the sound of a single letter) are quite modern; yet his vocal colors, frequent use of modal language, and direct expressiveness recall the old a cappella tradition. . . . The vocal writing is assured and well- designed throughout all these works. . . .” —Infodad
“All three works are similar in that the emphasis seems to be on the higher voices and everything blending into a conversational, murmury, shimmering sort of sound. It’s hypnotic and intriguing. . . .” —operaramblings