Morgan L. Bell is a music composer who has composed music for multiple projects, ensembles and orchestras across the United States, including ensemble Yarn/Wire and mezzo-soprano Peabody Southwell.
Bell began writing music, primarily electronic music, at the age of ten, when he got his first copy of Image-Line's FL Studio digital audio workstation (DAW). By the time Bell turned twelve, he was ready to bring something new into his music. In his sixth grade year, Bell joined the Mt. Pisgah Middle School Orchestra to learn how to play and how to write for acoustic instruments. The first instrument that Bell took interest in was the double bass, the largest instrument in the string orchestra family. After years of practicing on the double bass, he realized how simple it was to play other stringed instruments and eventually bought himself an electric guitar and bass guitar, which he played in Mt. Pisgah's Jazz Band.
When Bell first attended high school, students remembering his performances at Mt. Pisgah, asked Bell to join their band. During Bell's first three years at Cordova High School, he put aside his own music and became a part of four indie rock bands. Unfortunately, all of them disbanded. Shortly after, Bell decided that he would start writing his own music again, to perform and record almost everything himself. In his senior year, during a class of AP Music Theory, Bell decided that he wanted to go to college to pursue a degree in music composition.
At the University of Memphis's Rudi E. Scheidt School of Music, Bell's idea of music changed and developed into something new. Bell's composition professors Dr. Kamran Ince and Dr. John Baur and professor of music theory, Dr. Scott Hines, introduced him to a whole new ideology of music that Bell had never thought of, which was followed by examples from 20th-century composers such as Igor Stravinsky, Olivier Messiaen, and John Cage. This ideology was focused not on music for humanity's sake, but instead, music for music's sake. This ideology completely contradicted what Bell was used to when writing music. This ideology alone opens up limitless creative possibilities that Bell and any other creator can explore.
Beginning at Bell's second semester of his junior year to the end of his senior year, Bell met two more professors that would have a huge impact on his music. Dr. David Shotsberger and Dr. Utku Ünsal were Bell's electronic music professors, who have added to the ideology of "music for music's sake," by introducing the ideology of the late Karlheinz Stockhausen, who says that electronics is the future of music. This ideology can be seen almost everywhere in modern music in almost all genres.
Having adapted to many ideologies of music, Bell has formed his own, which can be said to be the glue that holds all these ideologies together. "Music is for everyone and everything, and no part of music is greater than another as no part of humanity is greater than another." Bell sticks to this ideology in all his music. Within Bell's music, you can hear influences from the 21st-century all the way back to the third millennium BC. "Everything is permitted in music and nothing should be left untouched."
When Bell is not composing music, he is still composing. Ever since Bell started high school he developed an interest in writing. Every time he had an idea for a short story, Bell would continue to develop it and eventually these short stories would have too much content to be considered short. Recently, Bell decided that he will put his stories to his music and eventually, to have his stories put to films that he will score himself. Bell enjoys creating and he has a lot of imagination that needs to be bridged into reality.