The first half of the 20th century saw the demise of the great operatic heroine and out of the fracture arose a focus on male roles, ensemble casts, and female roles singing in a completely new way. And as opera became a more racially integrated affair, new disconnects emerged while similarly allowing for new audiences to see their bodies presented as operatic vehicles.
Essential to the construction of community is the creation of a shared history: a rhetoric and a narrative about who the community is, and what its values are. And in order to create a new kind of community, Bang on a Can had to overplay its hand. Community had to be performed.
Sometimes radical new art needs an institutional network of support to be fully realized. Attributing Philip Glass’s success entirely to his creative iconoclasm ignores the substantial community of impresarios and patrons who have influenced his work and reception history.
The cultivation of community is fundamental to new music. Philip Glass’s first commissioned opera, Satyagraha, was the product of this collaborative ideal. But how does this communal ethos actually translate into music?
Steve Reich has been awarded the $100,000 Michael Ludwig Nemmers Prize in Music Composition from the Henry and Leigh Bienen School of Music at Northwestern University.
As a group dedicated to exploring “perceptible wave energies” through light and sound, Pulsa created art and music that not only made group collaborations audible and palpable, but they also reminded their audiences and participants—through light and sound—that actions have effects.
Daniel Spreadbury talks about his work in open source and web standards, some of Dorico’s most exciting features for composers, and how Dorico users will benefit from the larger Steinberg ecosystem.
Community is not one of the words typically included in descriptions of minimalism. Indeed, more often than community, minimalism had to do with conflict. But eventual authorial disputes were the result of a long series of close collaborative engagements.
The work of building a career never stops. An all-to-brief encounter with Felicia Day helped R. Andrew Lee adjust his perspective on tackling both the big goals and the mundane chores.
When compensation takes the form of passion and satisfaction, instead of monetary remuneration, what is the impact on performance quality, commitment, and artistic freedom? If we could remove money from the equation by making sure artists get paid enough to do better than get by, what would that look like?