Composer and drummer John Hollenbeck seems most content when faced with musical uncertainty. In this article he discusses his composing process, the challenges of organizing tours both in the U.S. and abroad, his thoughts on genre definitions, and the role of spirituality in his music.

As we all know, the internet can be a wonderful, amazing thing for a composer, musician, or artist of any sort. But it can also become your very worst enemy, depending on how you use it. I know that for me it has been incredibly useful, and my career would not be close to where it is without it. It has also taken a few years to figure out how to use it in a way that feels comfortable for me.

The current attention to one’s stuff and one’s things is not only about the physical, but also about the virtual.

Concern about the younger generation’s role in the future of the arts has been an issue during the entire history of arts organizations.

By Alexandra Gardner

I am reminded that it is nearly impossible to make anything that isn’t affected by the filters of our personal experience; that somehow reflects our “genealogy of ideas.”

With the new Innova double-cd Outerborough by violinist and composer Todd Reynolds, the listener is invited to browse inside one musician’s varied logbook of musical experiences, both internal and external.

By Alexandra Gardner

The very American question, “So, what do you do?” at least on the East Coast, is usually the first question asked when meeting new people.

The title of this post is taken from an eloquent blog post by Matthew Guerrieri, in response to this essay by Justin Davidson about the “New New York School” of composers. In a nutshell, Davidson complains that for all the talent evident in the bustling New York City new music scene, the actual music written by composers represented in current festivals such as Tully Scope, the Tune-In Festival, and the Ecstatic Music Festival is “shockingly tame.”

By Alexandra Gardner

Just as much effort is required in learning to make good electronic music, as is necessary to write for any unplugged instrument or combination thereof.

With Mirror saxophonist and composer Charles Lloyd distinguishes himself as a musician with the ability to experiment and create challenging music without losing touch with his audience.