Welcome to the inspiring world of a composer who proves that music is not just learned, but lived. We are thrilled to introduce Michael James Taylor, the Winner of the Intellerzone International Summer Next Gen 2025 Competition in the “Demo” Category.
A visionary artist whose journey defies tradition. A self-taught composer, dedicated educator, and the creative force behind Mr. Mike’s Music Method, he weaves narratives that bridge the gap between classical mastery and modern emotion. With his award-winning work “Flashes of Fallen Brothers, Lament,” he has demonstrated that resilience and storytelling are the true heartbeats of composition. From the echoes of Beethoven to the immersive worlds of video games, join us as we explore the mind of a musician who believes that creativity spills into every corner of life.
Can you introduce yourself and tell us what you do?
“I grew up surrounded by music—it was always present, whether at home or with my grandparents. It shaped me early on and gave me direction when school didn’t quite fit. I’ve come to embrace learning outside traditional paths, and music has always been my way in. I don’t hold a formal degree, but I believe
musical connection is something you live, not just study. Today, I teach piano, voice theory, composition and songwriting.
I compose modern classical like “Flashes of Fallen Brothers, Lament. My first prize award winning work in an international competition through Intellerzone. “Fallen Brothers” is the second movement in my first Quartet for Strings “The Tragic Battle of Gettysburg”. Sometimes the title comes to mind during my writing process. Other times the title comes first. Either way the title of each work is an extremely integral part of my process.
It gives me a sense of inspiration, direction, aesthetic and most importantly the narrative. I compose video game themes, and I run Mr. Mike’s Music Method LLC to help students grow through music. I also publish original works through MJT_compositions and Mr. Mike’s Music Publishing Co. I’m currently apprenticing as a piano technician and finishing a beginner method book. Music is my passion—it’s the heartbeat of everything I do. But beyond the studio and stage, I find joy in hiking through nature, diving into immersive games, building large-scale model railroads, and constantly exploring new ideas. Creativity doesn’t stop at composition—it spills into every corner of my life. I’m grateful for the
chance to share a bit of my journey.”
How did your journey in this field begin?
“My journey with music began in high school, where I was blessed enough to study piano daily with Mr. Carl Cottington. I also had access to music software—starting with Cakewalk and later Encore—which
opened the door to composing. I’ve been writing music for nearly 30 years, entirely self-taught. I still
remember hearing a full symphony in my head on the way to school—it was vivid, complete, and
unforgettable. That moment sparked a lifelong drive to bring the music inside me to life. Only recently, at age 40, have I begun to truly translate those ideas onto the score. It’s been a slow unfolding, but deeply rewarding. Music continues to be my greatest teacher.”
What inspired you to choose this profession or path?
“Beethoven has always been the red current running through my relationship with music. His work—
both the sound and the story behind it—continues to move me. It’s not just the compositions, but the way his character unfolds through them that inspires me deeply. I feel that same pull with every classical composer I’ve connected with, from Vivaldi to Penderecki. I didn’t set out to choose this path—it found me. And from that moment on, my life has never been the same.”
How would you describe your creative process?
“My creative process flows from many directions. I don’t limit myself to classical music—I draw inspiration from rock, rap, jazz, and pop. I might be working on a prelude and suddenly hear echoes of Led Zeppelin or Miles Davis shaping the mood. Sometimes it’s a conversation that sparks something. Recently, while talking with my wife about a brilliant cellist colleague, Cheryl Tedesco, the idea for a solo cello piece came to me—just like that. Other times, I start with a group of instruments and let theory guide the structure. Or I begin with a clear idea and build around it. Occasionally, I’ll challenge myself with something spontaneous—like exploring an unusual time signature just to see where it leads.
“It’s never one path. It’s more like rivers, streams, and oceans converging—each one offering its own current to follow.”
What does a typical day look like for you?
“Monday through Friday, I work as a paraprofessional at a public school. After school, I teach in-home lessons in piano, voice, music theory, and composition. Once a week, I also teach at a music studio I’ve been part of for many years—Kathy, Rick, and Dennis Aquino have become like family, and I’m truly grateful for them. I adjust my schedule to make room for composing and practicing, though weekends are when I can focus deeply and let ideas unfold. That’s when I dedicate several focused hours to writing and refining my work. It’s a full life, and I wouldn’t trade it for anything.”
Who or what has influenced your work the most?
“Beethoven has been a lifelong influence—his music and story continue to shape how I understand expression and growth. But just as powerful are my students, friends, and family. My students, especially,
keep me going. I’ve been teaching for 16 years, and I still can’t quite describe the feeling when their
faces light up after learning a new song. Most stay with me from age five through their senior year, and in
many ways, teaching teaches me too. I customize my lesson plans—adapting to each student’s needs
and energy. Sharing music theory and songs across genres has shaped me as a composer and musician.
Since I began teaching, it hasn’t felt like work—it’s felt like purpose. My students are the heartbeat of what I do.”
What are the biggest challenges you’ve faced so far?
“Rejection—with a capital everything—has been one of the biggest challenges. Submitting compositions and facing repeated denials can be deeply discouraging. It makes you question your work, your worth, and whether you belong in such a complex field. But over time, I’ve learned that you don’t need a hundred yeses. Just one.”
“One person who believes in your music can change everything. In this moment, Intellerzone stands as the first to believe in my vision—and their support is helping turn a lifelong dream into reality.”
How do you stay motivated during difficult times?
“When I hit a creative block, I shift direction. If one piece isn’t flowing, I move to another or start something new. I listen to music—sometimes classical, sometimes rock, jazz, or pop. Other times, I step away from music entirely. Silence can be just as powerful. The key is not forcing ideas—they come
when they’re ready. I find motivation in stories—biographies of composers, conversations, paintings, even the food I eat. Inspiration is everywhere if you stay open to it. Knowing when to push and when to pause is essential. And when I look back at older pieces and see how far I’ve come, it reminds me that growth is
always happening—even when it’s quiet.”
What has been your proudest moment so far?
“It’s hard to choose just one proud moment—I’ve been blessed to experience many. I let go of ego a
long time ago, so pride for me comes more from gratitude than achievement. But if I had to choose,
I’d say it was the moment two years ago when I stood up from the couch and, out of nowhere, heard
the full structure of my first symphony—time signature, instrumentation, everything. It poured into me like a waterfall. Other times I finish writing a piece from many years ago. Like “Gettysburg.” I started it about twenty plus years ago. I made serious revisions to it in 2022. I gutted the second movemen completely and replaced it with “Fallen Brothers”. Now it’s a four movement work with no pauses inbetween. Those moments helped me shape my aesthetic, my narrative, and how I approach
composition. It felt like something bigger than me—and I’ll never forget it.”
How do you define success in your field?
“Success, to me, isn’t defined by one big moment—it’s built step by step. Whether it’s progress or setback, each move forward teaches something. You have to embrace both the wins and the rejections—they’re part of the same journey. When I get pushed, I push back. I make every moment count. Like I’ve said before, all it takes is one yes. That one yes can shift everything. From there, you build momentum. The key is to stay hungry, stay curious, and never stop believing in your work.”
What advice would you give to someone just starting out?
“Start with curiosity and stay patient. Learn and internalize music theory—it’s the foundation. Listen deeply and often, across genres, but especially classical. I’ve been listening to classical music for nearly 30 years, and it’s shaped everything about how I compose and how I hear music. Learn to distinguish composers like Brahms and Beethoven—not just by style, but by their aesthetic and narrative. That kind of understanding takes time, but it’s worth it. Use every resource available—YouTube is a goldmine. Don’t begin with a symphony. Start small: a prelude, a bagatelle, chamber music. Build your skills gradually. Train your ear. Sing your ideas. That way, when a melody comes to you, you’ll know how to notate it, what
key it’s in, what time signature fits, and which instruments belong. Learn to identify each voice in the
orchestra. It takes time, but it’s part of becoming fluent in the language of music.”
How do you balance creativity and business?
“By God’s grace, I’m able to manage both. For me, music is both the business and the muse. Everything I do flows from creativity, so the balance feels natural. Teaching, composing, publishing—it’s all part of the same rhythm. I don’t take that for granted. I know how rare it is to have your passion and your profession aligned. That alignment keeps me grounded and grateful.”
Is collaboration important in your work? If yes, how?
“While I haven’t had many opportunities to collaborate with other composers yet, I know how vital collaboration is. Over the years, I’ve encouraged my students to work together—whether it’s sharing a piano bench or blending multiple instruments. It teaches them how to listen, respond, and grow alongside another musician. That kind of interaction demand focus, empathy, and trust. Watching them develop those skills has deepened my own appreciation for what collaboration brings to music.”
What tools or platforms do you rely on the most?
“Sibelius has been a reliable tool for me over many years—I started with Sibelius 5 and now use Sibelius Ultimate. While it has its limitations, pairing it with Microsoft Word allows me to work around those, especially when writing in a more contemporary style. For film and game music, I also use Audacity and BandLab. Each platform serves a different purpose, and together they help me bring my ideas to life across genres and formats.”
How do you handle criticism or negative feedback?
“Handling criticism isn’t easy—especially when you’re emotionally invested in your work. Music is personal, and it’s natural to feel protective of what you’ve created. But I’ve learned to step back and ask: is the feedback useful? If it is, I make adjustments and carry those lessons forward. If it’s not, I try to take it in stride. Every artist, in every genre, faces criticism—even the greats. It’s part of the journey. What matters most is staying open, staying grounded, and continuing to grow.”
What role does your identity or background play in your work?
“My entire life has led me to this moment. Creativity has always been at the core of who I am—it’s the framework of my identity as a musician. I’m a deeply programmatic composer, and the experiences I’ve lived through— both uplifting and difficult—have shaped the way I tell stories through music. Those moments give my work emotional depth and clarity.”
What are you currently working on?
“I’m currently developing several compositions, though I prefer to keep the specifics under wraps for now—they’re part of a larger vision I’m safeguarding. What I can share is that I’m working on pieces that will revolutionize the classical music industry forever. I believe in working deeply with one piece or set of works at a time, but I also recognize the importance of creative balance. When I hit a wall
with one piece—whether it’s writer’s block or emotional fatigue—I shift to another. That movement between works keeps the creative energy flowing and often unlocks new insights I wouldn’t have found otherwise.”
Do you have a dream project or goal for the future?
“Every piece I write is a dream piece. I don’t chase a single, towering goal because I don’t believe in summits—not in this industry. Music is a lifelong ascent, not a destination. If I ever declared one work as “the dream,” what would come after? For me, the dream is in the process itself—the constant unfolding, the evolution, the dialogue between life and sound. Each composition is a new frontier, and that’s what keeps me moving.”
How do you keep up with trends or changes in your industry?
“In this field, it’s not about keeping up—it’s about staying ahead. I don’t follow trends; I aim to redefine
them. That means exploring ideas and genres that haven’t been done before, pushing boundaries rather than reacting to them. To stay in the game, you have to lead it. Innovation isn’t optional—it’s the heartbeat of progress in music.”
What do you wish more people understood about your work?
“I hope listeners recognize the narrative thread woven into each of my compositions. My goal is always to communicate something meaningful—something felt. That’s why program notes are so essential. They offer a window into the composer’s mind, helping the audience connect more deeply with the story behind the music. I don’t just write notes; I write experiences. And I want those experiences to resonate.”
What’s something surprising or little-known about your profession?
“Honestly, I don’t think there’s much mystery left about the profession itself—composers have been shaping human expression since the dawn of civilization. But what might surprise people is how timeless and yet deeply personal the act of composing remains. It’s not just about writing notes; it’s about translating lived experience into sound. Each piece is a reflection of a moment, a feeling, a truth. That part—the invisible emotional labor behind the music is often overlooked, but it’s where the real magic lives.”
Any last words or message you’d like to share with our readers?
“Follow your dreams—not the money. Money is fleeting; it’s a transaction. But working in the realm of your dreams is soul-deep and infinitely gratifying. When your passion leads the way, fulfillment follows. That’s where the real wealth lives.”
Is there anyone you would like to thank?
“First and foremost, I want to thank my parents—for countless reasons. But above all, for encouraging me
to stay with music and helping me see it not just as a passion, but as a lifelong career. I’m also deeply grateful to my uncle, Curtiss Taylor. He’s been a direct influence on who I am as a composer and musician. His talent is extraordinary, and I’ve admired him for as long as I can remember. I continue to look up to him to this day. My sister Samantha holds a special place in my heart. I waited a long time for a sibling—so long, in fact, that I used to imagine she was already with me, sitting beside me in the back seat of our parents’ car. Around the age of nine, I wrote my first song, “Samantha.” It was simple, sweet, and reassuring—just for her. I kept it to myself for nearly a year. Then one day, my parents told me they were expecting a baby. I cried tears of joy. I invited them into my room and, at age ten, performed the song I had written for the sister I had been dreaming of long before she arrived. My sister is my first muse.
And then there’s my wife, Jem Lopez. She’s everything to me. It’s hard to put into words the depth of her impact—not just personally, but musically. She’s a vital part of my support system and plays a huge role in our winter and spring recitals through Mr. Mike’s Music Method LLC. Jem constantly encourages me to compose and submit my work, and her background in marketing is invaluable. I often joke that she’s
my Sharon and I’m her Ozzy—but the truth is, she inspires me in ways no composer, teacher, or contemporary ever has.”
“Above all, God has shaped my path through music in infinite, mysterious ways. Before music—before Beethoven—I didn’t know what it meant to truly dream. Music awakened something eternal in me.”
“My family, my students, my contemporaries, and even those I’ve yet to meet are all part of the unfolding story. Each chapter is written in sound, and every soul I encounter helps shape the harmony of what comes next.”
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