If you’re writing music without getting compensated, are you: (1) a victim; (2) an opportunist scab; (3) a smart gambler; or (4) all of the above?
What happens when you actually take the time to stop to listen to something without worrying about whether or not it conforms to your expectations?
I’ve travelled to San Francisco and Boston to hear new music in the past few weeks, but as wonderful as those experiences were, it’s a heck of a lot easier to listen to recordings if the repertoire you’re seeking is available that way.
Sweet Heresy is an extremely unusual disc of duo performances on instruments created and performed by Untravelled Path, which is Mitsuko and Arthur Fankuchen of Taos, New Mexico. Theirs is an extraordinarily uncompromising slow and inward music inspired by musical traditions from around the world utilizing such instruments as bowed deep bass monochords played like […]
In September 2006, yet two more symphony halls will open in major population areas in the United States, so why does the media keep saying classical music is dying?
Perhaps if we had to travel further away to hear a concert, we’d value the experience more.
If you’ve already heard the new music that you’re currently listening to, maybe it isn’t so new.
If being forced to work quickly doesn’t guarantee that you’ll create something outside what you normally do, what would guarantee such a result? Is it really ever possible to escape yourself in your work?