Last week’s gathering of the American Choral Directors Association in Salt Lake City, Utah was one of the largest national music conventions ever held in the United States. Thanks to a newly added composer track at this biennial conference and a greater emphasis on new music, there were also tons of composers and new music aficionados there.
If the Recording Academy feels that certain awards they give are not worthy of exposure on network television (which ultimately are the awards that wind up getting reported on in most of the media outlets and therefore the ones that most people are aware actually of), why give the awards in the first place?
Although his chosen means of expression is music, Jerome Kitzke describes himself as a storyteller. Kitzke’s musical stories have frequently dealt with the plight of Native Americans and other examples of social injustice. If his music inspires people to explore some of these issues on their own he considers himself successful.
The 2015 CMA/ASCAP Awards, the “New Music from CMA” commissions’ concert, and the majority of the ensemble showcases at the 37th national conference of Chamber Music America provided a real immersive new music experience—one in which definitions were constantly being expanded and which celebrated diversity and inclusivity.
Composer, conductor, and Trinity Church music director Julian Wachner believes that all music is meant to induce a transformative experience upon the listener and believes that changing listeners’ lives through music is a “moral responsibility of the compositional craft and the performative craft as well.”
For Daron Hagen, working on an opera is so immersive that his life can be fairly neatly divided into chapters corresponding to each of the operas he has written. Nowadays, even though he is principally concerned with being a father, opera continues to inspire him, in part because he sees parallels between writing opera and parenting.