New music culture’s inability to conceive of an opportunity as anything but a competition is a big problem. We need to create more opportunities for young composers that aren’t structured this way, but can we even imagine them?
What kind of a composer would Harrison have been if he had never left New York? This is an absurd hypothetical question by any measure. But I also wonder what kind of creativity the current climate of careerism is killing.
“Finale or Sibelius?” is a question that composers love to ask other composers. But there are a variety of other, lesser-known options for notation software lurking out there.
While Tom Johnson doesn’t necessarily expect his music to be understood, he hopes that people will put forth the effort to at least grasp a fragment of it. It is essentially a gesture of trust: here is an offering, and you can take it or leave it.
For change to have meaning, an element must remain fixed, and often the most hyperactive music conveys no motion at all.
Ed Key’s visual design only tells half the story. David Kanaga’s sound design—or “music design” as he calls it—is incredibly dynamic and layered, with samples culled from an overwhelming number of sources.
I promised myself I wouldn’t take the bait dangled by Dan Asia’s screed against John Cage, but it’s turning out to be hard to resist. So instead I’ll try to write about it in the most oblique way I can without being too obtuse.
The Orchestra iPad app is one of the most persuasive arguments for the Western canon’s vitality and endurance that I’ve encountered, and it does so entirely in subtext, without any grandiose, pompous pronouncements.
In a recent article at Gamasutra, Andrew High asks the question, “Is game music all it can be?” While I agree with his general premise—that music in video games can do so much more than it’s currently doing—I found the article to be frustratingly incomplete, and I’d like to articulate why.
After the news of Elliott Carter’s passing earlier this week, I was quite moved by the outpouring of tributes to the composer that I encountered through social media. It says something about Carter’s musical imagination that even those who professed to dislike his work had a favorite piece by him. This got me thinking about the limits of what we can do as composers to advocate for our own music.