Does the national new music community need a professional conference of its own? How would such an endeavor actually work? Who would be the intended audience? Would it be a yearly or biennial event? What umbrella organization would or could provide logistical support?
The Chicago Composers Orchestra concert at the Garfield Park Conservatory and the Third Coast Percussion concert at the University of Chicago each demonstrated how new music concerts can be diverse in content, in venue, and in audience to great effect.
With his “The Music They Made” feature, the NYTimes Magazine editor Wm. Ferguson is using his position to shape his idea of the “mainstream” by adding a few names that only indie, rock, and punk devotees would recognize while, at the same time, protecting it by disavowing not only classical music but jazz and Broadway as well.
As with the Instagram debacle, it will take a concerted effort by many to attract the attention of a company as large as Spotify and motivate them to make changes, and we should not be adverse to putting forth that effort.
I almost missed Dan Joseph’s article last week decrying the absence of composers from his Gen X generation. Were we born at the “wrong” time? I think our generation has the unique luck to have connections to both the social turmoil of the 1960s/’70s as well as the changes in technology and social interaction of the 1990s/’00s.
How one discovers what material will work in a particular piece and the decision-making process by which the end result is created are two important aspects of the creative process that define and differentiate each composer from his or her colleagues.
We should be celebrating Michel van der Aa’s Grawemeyer win—a massive achievement—but we can use that celebration to reevaluate our own place in the world as well. If we’re really going to think about why the Grawemeyer does not have much recognition outside of the new music community, there are several questions that need to be raised.
Consistency in instrumentation is in many ways a good thing, since it simultaneously allows for ensembles to have a wide array of works to choose from as well as a strong number of similar ensembles by which composers may have their works performed. That same consistency, however, has created some unintended side effects.
I have tried to emphasize the importance of students critiquing one another’s works in my Beginning Composition class for several years to great effect. This accomplishes several valuable things at once.
As Hurricane Sandy and the various weather systems that converged on the eastern half of the United States began to unleash their power, it still didn’t seem all that bad from our vantage point in western New York.
It was, indeed, that bad.