Concerts, festivals, classes, lessons—any opportunity for us to assemble is fertile soil for us to plant and cultivate the seeds of contempt.
Young composers: Stop them before it’s too late!
Is computer notation software still even debatable, or is it just a pet issue for the Luddite fringe?
No composer has the power to force a listener to approach his or her piece in a particular manner. On the other hand, how can a composer write for an audience with a potential infinitude of ways to listen?
Who are these hypothetical composers that choose the aesthetic math problem over the big sheet of newsprint on which to finger-paint?
How is that music can deliver us both heavenly and hellish experiences at the same time?
Music is a language in which one cannot lie; is it dishonest, then, to write strictly serial music?
The field of composition is rife with laurel-resters who trade on their earlier work while their standards decline; even composers whose younger successes were relatively modest conform to this model.
What sort of unexpected inferences might a performer make about your music based solely on its style of notation?
How do nonspecialists differentiate between composers and contemporary music?