The three discs featured here all contain music in which computer interaction plays a prominent role alongside human performers.
For flutist and composer Jamie Baum, the formula for what she calls a “complete musician” consists of three parts: performing, composing, and improvising. In her mind, these three activities combine in an organic way to create a rich, full musical life, and she does it all—and more—in spades.
What on earth is going to happen to compositions that are painstakingly crafted for effective live performance at the time of their creation, but which become increasingly difficult to mount live, simply due to the march of time?
This week we round up three new recordings by large ensembles of various configurations.
I am quite certain that I would not be a composer today were it not for having received an eclectic liberal arts undergraduate education, and I think there are plenty of young people out there now who, like my younger self, need something a bit different than the laser-focused, technical musical education one might receive at a conservatory or through some other types of programs.
Among the CDs that have landed on my desk in recent weeks are a few that showcase flute prominently. Here are three artists whose highly individual styles of integrating flute into their compositions perked up my ears.
This edition of the NewMusicBox Mix contains a sampling of the many different sound worlds of jazz in 2013.
It’s refreshing to hear the bassoon edging it’s way towards the sonic foreground in contemporary music. Anyone with doubts about how cool the instrument can be has not yet heard bassoonist Rebekah Heller perform; in her hands, the oft-underappreciated instrument is transformed into a fierce creature that cannot be ignored onstage.
By reveling in the small details and rough edges of her musical landscapes, composer Paula Matthusen creates musical environments that heighten perceptions of the ephemeral nature of sound, and ensures that surprises can be found at practically every turn.
Are we really the best judges as far as what should and should not be shared with the outside world when it comes to our own music? Are our present selves overly critical of the pieces our past selves have labored over? What is the real purpose behind our attempts to so closely control how, when, and what part of our creative output reaches beyond our individual perimeters?