Though recordings are no longer especially financially remunerative in this digital age, there does exist something uniquely valuable and not reproducible: the artists themselves.
I was invited to testify before the Federal Communications Commission in the fall of 2009 about two issues: digital piracy and rural broadband access. The former, because I am a composer, and the latter, because I am a composer who lives on a small, remote, bridge-less island floating off the coast of the United States who has created and managed her career largely on the internet.
I returned home from Denver with a renewed focus and excitement about what I’d like to accomplish this summer. That kind of clarity is a byproduct of the vibration that comes from being surrounded by several thousand art-makers and art-supporters, and I can’t think of the last time I was part of a specialized herd that large. It’s reassuring to know just how many of us there are out there.
It’s never been easier to build fan bases and generate income from our work; your enpixelated interface with the world is where your income generation will often begin.
A rewarding music career begins with three distinctly non-musical concepts: positive vision, abundant thinking, and a sense of self-worth.
There are two important reasons for a composer to acquire a DBA (“Doing Business As”): one has to do with money, the other with privacy. And if you are doing business under any name other than your own, it’s required by law.
Alex ShapiroPhoto by Jeremy Davidson I don’t think tonality and overt melody ever left the building, but in some circles they were like a couple of illicit lovers locked in a small broom closet for quite a while. Until very recently, the perceived power in the concert music world came largely from universities, conservatories and […]