Steve Evans, vocals; Jake Vinsel, bass; Noritaka Tanaka, drums; Leandro Lopez Varady, piano According to the booklet notes on his new 2-CD set, jazz vocalist Steve Evans originally intended to release a live recording of his quartet, but “technical difficulties” intervened. So instead he imposed strict restrictions on his studio process in the hopes of […]
The attention of an audience should be of paramount importance for any music.
I really can’t understand why some people feel compelled to walk out of a concert while a performance is still going on; is anything really so unbearable?
Do composers have the right, or even the ability, to determine the context in which their music gets heard?
Before you start thinking I’ve really gone off the deep end and have turned into some sort of crank synaesthesiologist, read me out.
Ben Johnston talks about the aesthetic dilemmas of contemporary music and his own pioneering work in extended intonation, as well as personal encounters with John Cage, Harry Partch, Milton Babbitt, and others—topics which all figure prominently in his newly published collection of writings, Maximum Clarity.
If there is a larger relationship that music and food both share on an immediate, visceral level, finding out might tell us something about why certain people gravitate toward particular musical styles.
We really don’t have a decent word to embrace every possible musical creation, but perhaps I should get over my aversion to the phrase “piece of music.”
To my thinking, the painter Brice Marden (who is currently the subject of a major MoMA retrospective) shares a lot of aesthetic common ground with composers as diverse as David Borden, Gloria Coates, Alvin Curran, Frederic Rzewski, and Charles Wuorinen; yet I doubt there’d be lines around the block to attend a concert assembling any of their lives’ work.