Too embarrassed to ask your colleagues for guidance on handling performance anxiety? Facing a problem so professionally complex your mom doesn’t know how to help you? You need a fierce friend and NewMusicBox is here to help.
This week marks the Disquiet Junto’s 134th composition challenge and the assignment takes things in a fresh direction: score an already-filmed dance piece. The visual movement is complete, but its sound has yet to be crafted in response.
Whether inspired by history, Biblical texts, or purely sonic ideas, Baltimore-based composer James Lee III’s music explores a landscape rich in color and rhythmic texture.
Beyond the serious financial plight of the unpaid 2013 Beethoven Festival musicians, the larger conversation drives home that both performing artists and their employers need to be educated and held accountable by the community at large, and there is some serious work to do on that score.
It came as no surprise that the cancellation of the scheduled simulcast of John Adams’s The Death of Klinghoffer, slated for production at the Metropolitan Opera this fall, has inspired some very active comment section action. But have you heard the work yet? Let’s listen and chat.
In its 15-year history, composers, musicians, and industry professionals have shared countless pearls of wisdom with NewMusicBox, but these are some that have become particularly quotable quotes around the office, starting with one I used to keep on a sticky note posted above my desk.
If a picture is worth a thousand words, a handful of images from NewMusicBox in 2008 seemed like great way to illustrate the year that was.
There were so many new and shiny ways to share our inner monologue in 2007. In honor the information acceleration that marked the year, let’s take a deeper look at just a few mile markers.
A chair is a terrible thing to waste, and in 2006 any and all vacancies were weighing heavily on our minds. Venue was a central variable in the new equations, but long-term solutions meant more than just locating a cooler landlord with a liquor license.
If 2004 had a genre-busting vibe, by 2005 we were embracing friends old and new as barriers cleared. The questions at the intersection of music and digital delivery, however, were getting much more complex as the novelty of what we could do careened into what music was worth and how we were going to pay for it.