What passes for discourse was completed during the two 2016 U. S. National Presidential Conventions, which followed an unusually rancor-filled Republican Presidential primary (and a somewhat more normal, but still contested, Democratic one), and preceded the three month run-up to an unusual general election. The piece is a commentary on some aspects of political discourse that came to the fore during that process, including a focus on the personal, the repetition (and group chanting) of largely empty catch phrases, and a general lack of civility. None of these are new to American (or non-American) politics, of course, but even if there only seemed to be more rancor than usual, that rancor appeared to overshadow actual policy views everywhere, from the debate stage to the media coverage.

The piece opens with unison lines which split and fracture as they repeat and vary, the two performers taking on the role of political opponents who begin with relatively similar narratives, but who work only to differentiate themselves from each other. Near the middle of the work, there is an attempt at a clear and reasoned “policy statement” in the guitar. This is followed by a more off-the-cuff rejoinder in the sax, and leads into a debate between the two instruments. This roughly one-minute passage is loosely transcribed (rhythmically) from a section of the 10th Republican Debate (February 25, 2016, Houston) where Ted Cruz and Donald Trump (and some other candidates) spoke over each other. (If you are wondering, the guitar is Cruz.) In the last part of the piece, the two instruments present their “entrenched” positions again. And again.

I am grateful to the Duo Montagnard for commissioning What passes for discourse.


David Heuser began composing almost immediately after his first piano lessons at the age of seven, writing short tunes in imitation of the exercises he was studying. He continued to write music throughout his childhood, some for piano, chorus, and wind ensemble, and some for the rock bands he was in. After high school, he attended the Eastman School of Music and then the Indiana University School of Music, where he received his doctorate degree in music composition in 1995. A native of New Jersey, Heuser is the Associate Dean at The Crane School of Music in Potsdam, New York. Prior to this, he resided in San Antonio, Texas for fourteen years teaching at the University of Texas at San Antonio.

Heuser is a storyteller, crafting emotional journeys for listeners, but his stories go beyond words to things only music can speak to. His over 70 compositions range from exuberant orchestral works to intimate chamber pieces. His most characteristic works are rhythmically active, strongly melodic, and often deal with extremes of tempo, dynamics and register. Just as a painter fills space, a composer fills time, and it is Heuser’s goal to lead the listener through the time his music occupies in a way that is compelling and moving.

Heuser's music has been performed by various groups and individuals and on festivals and conferences throughout the United States and abroad. He has received commissions from such ensembles as the San Antonio Symphony, the New York Youth Symphony, the SOLI Chamber Ensemble, the Indiana University New Music Ensemble, and the Texas Music Festival Orchestra, and grants from ASCAP, the American Music Center, and the Artist Foundation of San Antonio. Heuser's music has won various awards, including the Columbia Orchestra American Composer Competition, the Fauxharmonic Orchestra Composition Contest, and the New England String Quartet's International Composition Competition.

Heuser’s music is published by Non Sequitur Music, and works of his can be found on recordings on the Albany Records (Catching Updrafts, Cauldron and Not here, but there), Capstone (Still Life With Fruit), and Equilibrium (Deep Blue Spiral) labels. Heuser is also a founding member of the Composers Alliance of San Antoino (CASA).