I’m convinced that new music would be easier to explain to younger students if introductory textbooks made a genuine effort to periodize it just as the preceding centuries’ music has been.
Is it my job to write music that moves at your pace or mine?
Wouldn’t it be ironic if our study of music with an eye toward the elevation of critical standards is leading us to accept more music (and more musicians), not less?
Analogous compositional plans have been used since the Middle Ages, but will the arrival of new media finally spawn new ways for composers to approach their materials, overshadowing more traditional methods.
What does the New Year has in store for new music?
What on earth do video games have to do with new music? Well, for starters, there’s a whole generation of composers who are intimately familiar with the canon (the standard rep as it were) of video game music.
The affective, expressive content that’s supposedly the exclusive domain of tonal music can be analyzed, synthesized, and manufactured, and you don’t even need to bus senior citizens to Canada to get it cheaper.
Tolerance for strange film scores and things like Radiohead is quite high. So if dissonant music isn’t keep audiences away from the concert hall, what is?
While an informed opinion is always more valuable than an uninformed opinion, listeners feel that they can speak openly about their opinions, informed or un-.
How much equipment failure, manual-reading, and general hassle are you willing to endure to realize your electroacoustic masterpiece?