In a world where most composers are self-published, wouldn’t the use of opus numbers today seem like the ultimate act of hubris?
Why is the classical music community so obsessed with how old people are?
The only constructive thing one can do with negative criticism is criticize it.
I’m beginning to realize that mistakes are not only unavoidable, they’re the prime force in shaping history.
Classical music as a genre has been too fixated on the past, so it goes to follow that most classical music enthusiasts would believe in yesterday more than in the here and now, but I’ve been experiencing a greater openness to new music than ever before.
The premise of Tonic’s new rock complexity festival last week was to highlight the ever porous boundary between rock and, for lack of anyone’s better term, contemporary classical music. But as exciting and as new as much of this music sounded, is this really a new idea?
For some reason, the summer seems to have become as busy as the rest of the season: concerts (both in and out of town), award ceremonies, receptions, you name it.
The BMI Foundation has awarded Asuka Kakitani its seventh annual Charlie Parker Jazz Composition Prize; the award honors the writer of the best new work composed during the annual BMI Jazz Composers Workshop.
Peter Sellars’s remarkable keynote address at the American Symphony Orchestra League Conference is now available for anyone to listen to online, but what will be its ultimate impact.