Many composers who are mid-career or beyond lack the training and experience of composing music that is for the blossoming musician. How can we entice them into exploring this uncharted territory?
Our house has been overrun with dozens of children’s videos for preschoolers but last evening my husband decided to take matters into his own hands; he began with popping in a DVD of Philip Glass’s Koyaanisqatsi.
Why do some of us take composers who teach younger students less seriously than composers who teach at universities?
Why is it that we take such care programming a concert by professionals, yet often fail to take the same approach with our students?
Do we need to have a healthy music program in place in order for composers to work with students?
Perhaps our institutions could offer graduate students an internship that puts them into the public schools as composers-in-residence.
Learning how to compose or perform music is a very different skill from not needing a diaper anymore, yet we use the same word for it: training.
What makes young musicians resistant to playing new music?
When picking a piece for students to play, almost everyone’s answers said the music has to be within the technical abilities of the player(s), needs to challenge, and has to be of high “quality”; but how do we evaluate “quality”?
I meet many non-trained composers who write more successful music for amateurs than the trained professional.