As a Music Society (Global Studies) Minor, Eugene is no stranger to academic writing.
He has written on numerous topics including but not limited to Indian Art and Music, Africana Studies and Luminary Jazz Composers. As a recipient of the prestigious Diploma of ABRSM in Piano, Diploma of Rockschool Ltd in Electric Bass and Licentiate of Trinity College of London (LTCL) in Drum Kit with a distinction, Eugene has written program notes ranging from historical information on Schubert’s piano works to mathematical analysis of rhythm in advanced-level Drum Kit pieces.
Below are some samples of Eugene’s writing and musical analyses:
“Tyner’s unique approach to chord voicings and improvisation are his biggest contributions to the vocabulary of pianists and other instrumentalists alike. Owing perhaps to the fact that he was left-handed, Tyner had a very raw and powerful comping style, usually employing perfect fourths and fifths with the root of the chord in the lower register that were reminiscent of spread voicings in larger ensembles with horns.” – from an analysis of McCoy Tyner
“Durga is an incarnation of Devi (the female aspect of the divine). The goddess Parvati (the consort of Shiva) assumes this identity, and Durga also embodies the essences of goddesses Lakshmi (Vishnu’s consort) and Saraswati (Brahma’s consort). Such is the oneness of the pantheon of divine beings in Indian mythology. Known as “Kali” in her war form, she descends as a wrathful incarnation and proceeds to destroy. This destruction is a positive one, as the end goal is creation. Hence, the female aspect of divinity is maternal – birthing the universe – but not feminine. Kali is commonly shown carrying a trishul (trident), sword, a severed head and a kapala (bowl or skull cap) that collects the blood of the severed head, and also is often shown stepping on Shiva (her husband). She is truly a terrifying symbol for the destructive and creative forces of the universe.” – from academic observations on symbols in Indian mythology
“The piece opens with serenity: halcyon melody floats, supported with rippling arpeggios. A stately bass line sounds: its presence seems to linger long after the sound has faded. An Impromptu is a piece usually in a song-like, improvisatory style which suggests inspiration, and the Impromptu in Gb abounds with riveting modulations and seemingly spontaneous dynamic changes. The mood intensifies as the piece progresses, with occasional left hand countermelodies and trills applied with contra-metric rubato serving to further enhance the pathos of the Impromptu. The hymn-like melody returns after an ethereal pause and once again sings, and after the final great crescendo, a densely harmonized fragment of melody seems to remind one about the piece and everything it stands for. The Impromptu then concludes on a tonic chord with an obtrusive 5th in the extreme low register. Perhaps Schubert meant it to be perfectly flawed, just as life is.” – from DipABRSM Piano Recital Programme Notes
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