Just when you thought you knew what new music was supposed to sound like, it suddenly ceased to be new music. Corey Dargel is a difficult one to compartmentalize on the pop-nonpop divide. His songs are further proof that there really shouldn’t be and ultimately aren’t such divides for people doing some of the most […]
Composers from Stephen Sondheim and John Musto to Martin Bresnick and Peter Lieberson are honored at the annual American Academy of Arts and Letters Ceremonial.
If you’re doing several different things at once, are you really paying attention to any of them?
Is it possible that listening and composing are contradictory impulses?
Is it possible to sell out without having to change musical styles?
Most “emerging” composers in our world, as well as aspirants in almost any genre, seek any opportunity to get their music in front of an audience whether financially lucrative or not—in most cases not. It’s probably the one piece of common ground between all of us, even if the economies that support the successful practitioners of each genre are so stark in their differences.
The process of meditating is remarkably similar to the way that so-called serious music is “supposed” to be listened to or how books are read, even though meditation is ostensibly a personal inward activity while listening or reading are outward activities focused on someone else’s thoughts.
On Saturday I made my biennial pilgrimage to the Whitney Biennial; why isn’t there a similar biennial in our music community that could involve an orchestra, chorus, several chamber ensembles, soloists, etc.
Perhaps there’s a reason to learn how to drive afterall.