The omnipresence of recorded music illuminates, ironically, the issue of venue and its impact on the experience of listening to music.
The outpouring of comments (thanks, by the way) in response to last week’s column prompts me to address another pop music-related tangent: the use of
vernacular materials in new concert music.
I’d like to backtrack several weeks here and take a look at an issue that was raised but not completely resolved in an earlier post: What’s the nature of the relationship between my generation of composers and popular music?
When’s the last time you saw a theory course in someone’s professional bio?
My composer friends and I are in near-unanimous agreement that a “faked” performance of our music is far better than no performance at all.
Maybe I’m way out of line here—if so, please call me out—but I just can’t help thinking that a little mandatory instruction in vernacular new music might pay off.
Welcome, Colin Holter, a first-year grad student at the University of Illinois at Urbana-Champaign who will be blogging on grad school issues. You can read him here each Wednesday.