Just In Case Somebody Gives You a Lot of Money

You may recall that the Yale School of Music’s
hundred-million-dollar endowment was one of the biggest news stories of
last year among our kind. The even bigger story was what that endowment
would be used for.

Bio Hazards

If you haven’t read Randy Nordschow’s piece on composer bios, read it right away (then come back here immediately). It’s great—so great that I couldn’t resist ganking his subject for further exploration.

Performance Enhancement

Every now and then, I run across a piece of information that completely rocks my world, only to find that everybody on my block already knows all about it. I don’t know whether the use of beta blockers in classical music performance is common knowledge, but I find this genuinely alarming.

News Music

So who’s writing In Memoriam Abu Musab al-Zarqawi? Come on. I’m sure it’s at least crossed somebody’s mind.


I’ve tried my hardest to penetrate the Uptown/Downtown dialectic that seems to dominate stylistic discourse among many NewMusicBoxers, but there’s something about it that I could never quite wrap my head around, and I think I finally know what it is.

Confessions of a Would-Be Music Forger

I’ve thought about submitting scores to competitions under the name, in the style, and in the simulated hand of one of the judges, carefully pieced
together at the computer; on one level it’d be a joke, of course, but
part of me thrills at freaking out successful composers this way.

Process City: Like Mapquest (But For Composers)

It has occurred to me that our music is probably less a result of our processes than vice versa: We want to meet certain goals in our music, so we’ve accumulated, synthesized, and exercised skills that allow us to accomplish these goals.

The Composer As

This week I want to check in on an issue I grazed, as it were, with a haphazard spray of speculative birdshot last week: What does a composer have to be in the 21st century?

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