Repetitive music often gets maligned as background noise, encouraging passive listening, but it can also encourage the listener to actually confront the musical materials they’re faced with.
If you’ve read a few of my posts you may have noticed a common refrain of “context matters.” So I decided I would test out this hypothesis in a live setting and see if my cherished beliefs would hold true.
While music itself isn’t inherently gendered, gender can have a huge impact on how music is perceived and interpreted.
Almost everyone I know second-guesses themselves when creating something that references the work of the recent past. It’s true that this often doesn’t stop people from creating, but it does often affect what we can do with those works once they’re created.
When I think of what I want the experimental music scene to look like in the future, this would be an excellent model.
One of the common complaints about current pop music is that it’s all hopelessly retro, and that we haven’t seen anything genuinely new in about 20 years. Pop music is eating its own tail. The irony is that this kind of self-aware self-referentiality is exactly what was prized and heralded as a savior of concert music a few years ago.
Practically everyone in new music feels like the victim of some kind of persecution, often while being completely oblivious to the persecutions they themselves are perpetrating.
Last week I was the recipient of my first negative review! I was surprised at how angry and upset I was when I first read it, and how long it took me to calm down about it. In short, as much as I thought I was prepared for this inevitable moment, I wasn’t.
By subtracting a great deal of expected context, New Lens Concerts ask us to invent our own, inviting us to let go of our preconceived notions about composers new and old, or so the theory goes.
After the deluge of new music concerts over the past few weeks, the dearth of dedicated new music critics in Los Angeles has felt particularly frustrating.