For composer Andrew Norman, the process of composing feels like a tug-of-war between opposing forces. From start to finish, he is constantly questioning, and pushing back on his own ideas in his efforts to create meaningful musical experiences for performers and for audiences. He revels in the visceral experiences of music making, and thoughtfully challenges performers to bring their own ideas to the interpretation of his music.
I’m currently a bit obsessed with the upswing in available information related to creativity that has taken place over the past couple of years. Lately I feel as if the swell has become even larger, with a huge inflow of books and websites devoted to the why and how of creative process and creative thinking. I can’t help but wonder, why is all this material coming out now?
Composer Paul Rudy takes to heart the idea that “nature’s wisdom follows the path of least resistance.” Active listening and intuition play vital roles not only in his composing process, but also in his work as an educator and performer.
As a fond farewell to 2013, the intrepid New Music USA staff has chosen some of their favorite tracks from the past twelve months for this edition of the NewMusicBox Mix.
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.