The first half of the 20th century saw the demise of the great operatic heroine and out of the fracture arose a focus on male roles, ensemble casts, and female roles singing in a completely new way. And as opera became a more racially integrated affair, new disconnects emerged while similarly allowing for new audiences to see their bodies presented as operatic vehicles.
At a time when our most immediate collective reality is not only mediocre, but also dangerous and pathologically against the creation of fairer worlds, I would like to believe that there is some work to be done in our field, where perhaps we can reclaim creativity and imagination.
Timbre and envelope are intricately related and are major determinants of how effective a sound event in music will be, whether in acoustic music or electroacoustic music. Since the sound events used in electroacoustic music often have little or no distinct pitch characteristics, traditional contrapuntal sequencing devices often may not generate identifiable or interesting variations, but other techniques, including models borrowed from rhetoric, can be used effectively.
Essential to the construction of community is the creation of a shared history: a rhetoric and a narrative about who the community is, and what its values are. And in order to create a new kind of community, Bang on a Can had to overplay its hand. Community had to be performed.
Because of Babbitt and others, contemporary music gained access to academia and did find some solace, but the price of admission was nevertheless very high. By fundamentally treating contemporary music as a field of scientistic exploration, this type of music neglected most of its bonds with modernity and its emancipatory project based on self-critique.
“What we listen to affects how we smell,” says Mary Ellen Childs. “Both those senses can make us have an emotional reaction. They might even make us experience time or space differently.”
The National Endowment for the Arts has announced the 2017 NEA Jazz Masters Fellows, which is the United States government’s highest honor in jazz.
The musicological exploration of electroacoustic music, its historical and social dimensions, is long overdue. In fact, as so many pivotal figures pass away, I cannot fathom why there has not been a rush to collect primary source material, let alone to interpret it.
The Impact Fund, a new project of New Music USA, represents the first major effort to aggregate and amplify the voice of the New York new music community online.
Sometimes radical new art needs an institutional network of support to be fully realized. Attributing Philip Glass’s success entirely to his creative iconoclasm ignores the substantial community of impresarios and patrons who have influenced his work and reception history.