Why do so many composers still insist on numbering their works rather than naming them?
Here’s the skinny on Hong Kong’s music scene.
Should we really be satisfied with a narrow cast, even if that’s what we’ve had all along?
All too often when new work ceases to be new, it resides in a cast-off limbo, no longer welcome at the table with the new and not yet embraced by the avatars of the tried and true.
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 […]