Author Archives: Molly Sheridan

About Molly Sheridan

Molly Sheridan is a writer, editor, and producer specializing in classical and experimental music, with a focus on multimedia content designed for the web. A winner of ASCAP’s Deems Taylor Award for music journalism, she is the executive editor of NewMusicBox and Counterstream Radio, both programs of New Music USA.

Got Health Insurance?

With the issue of health insurance so much a mainstream focus at the moment, the Future of Music Coalition is conducting a musician-focused coverage survey. If you are a musician or composer and can spare 10 minutes of your time, the survey is here.

How to Succeed in the New Music Business (You Will Need to Try)

In The Savvy Musician: Building a Career, Earning a Living, & Making a Difference, composer and pianist David Cutler collects strategies and success stories from 165 composers and musicians working in these musical arenas and sprinkles them throughout this slickly designed A-to-Z guide covering everything from building up a career to planning for retirement.

Sounds Heard: Ingram Marshall—September Canons

By Molly Sheridan

Spanning 1972-2002, each included work on September Canons showcases facets of what has earned Ingram Marshall a reputation for creating impressionistic music that, whether capitalizing on modern technology or taking off from more traditional musical forms, is sonically unique in a way that nudges open rather than aggressively pokes at the ear.

Sounds Heard: Julia Wolfe—Dark Full Ride: Music in Multiples

By Molly Sheridan
No sonic wallflower, Julia Wolfe really goes for the jugular (or the ear canal equivalent) with her new collection Dark Full Ride: Music in Multiples, and whether you come away having loved or hated the results (I don’t think there is a middle line to walk in this case), you will almost guaranteedly have been gobsmacked.

Sounds Heard: John Adams—Doctor Atomic Symphony

By Molly Sheridan
Whatever your thoughts on the original three-hour Doctor Atomic opera—or if you didn’t get the chance to see it for yourself, as I did not—at just under 25 minutes this orchestral suite comes across as a tight, visceral ride that you won’t want to miss.