While it is possible (and in my opinion desirable) to listen to all music, individuals’ listening modalities span a wide and often irreconcilable gamut.
I know that exciting new music performances happen around the country throughout the year, but April and May really do feel like a double contemporary American music month in New York City. But what can we do make a louder splash about new music among the general public?
Today we’re celebrating our eighth anniversary online, but it seems like we’ve still only scratched the surface.
For the brief all-too-finite period of time of the ASCAP I Create Music Expo we were all one community, albeit one that is defiantly not monolithic, even within individual stylistic paradigms.
I’m simultaneously ecstatic and somewhat puzzled by the choice of Ornette Coleman’s Sound Grammar as the winner of the 2007 Pulitzer Prize in Music
It is impossible to assess the general public’s receptivity to “good music” from passers-by ignoring a performance by Joshua Bell; all you can assess from this stunt is the basic human need for filters and frames to guide perception.
I had three experiences during my first-ever visit to Cleveland this past weekend which offer some interesting variations on the theme of getting more people interested in hearing new music.