Analysis

Jazz Audience Development: The Gender Factor

International Sweethearts of Rhythm

Casual observation of the audience for jazz reveals that it is predominantly male, which also reflects the average jazz band personnel. One wonders aloud whether consumers witnessing more women on the bandstand might ever translate to an increase in women in the jazz audience.

Fair Trade for Sheet Music

Deep Sea Food Chain

In a world that increasingly relies on the economy of free, it’s important to establish that some things aren’t free, and in fact have an actual dollar value associated with them. I sincerely believe that we, as a society, can’t claim to value something—be it an object, a service, or our culture in general—if we refuse to ascribe an actual price to it or to some part of it.

Digital Audio Workstations: Notation and Engagement Reconsidered

Logic Pro screen cap

Despite an engineer or producer’s best attempts, a new work cannot pass transparently through a DAW; there are always stopgaps, enhancements, deletions, and tweaks being exerted that, I think, fundamentally color the recorded piece as separate from the composer’s instruction and the performer’s execution. This begs the question of how best to characterize the DAW’s everyday impact on our musical world.

Morton Subotnick’s Sidewinder

Sidewinder

I appreciated the rigor and austerity of Stockhausen’s Hymnen and Mantra and some of the Columbia Princeton recordings as a high school senior, but it was Subotnick’s Touch and Sidewinder that provided aesthetic enjoyment. The music was alive, organic in its flowing movement, and—particularly appealing to me—playful.

Music, MOOCs, and Copyright: Digital Dilemmas for Schools of Music

Berklee MOOCs

At first glance, the opportunity to take free online courses from some of the country’s most prestigious universities sounds great. But for some educational stakeholders, these classes represent a threat to higher education as we currently know it. So, what are the risks and what are the benefits for the music field?

Inviting Possibilities for New Music and Music Education

Trading Ideas

How would you feel if you heard your own or a colleague’s music mashed up with the latest Katy Perry or Kendrick Lamar track? Can you envision yourself video conferencing with a group of elementary school or university students who recently posted video clips of themselves discussing new music on YouTube or who admitted that they would like to try transforming a piece from the genre into electronic dance music? These questions hint towards possibilities that some may find problematic and that others may consider appropriate and beneficial for new music, musicians, and students.

Food Opera: Merging Taste and Sound in Real Time

Ben Houge

The potential to link sound to food, scent, and the tactile sensations of the mouth creates an entirely new field of sensory interplay, which may be harnessed to a wide range of expressive ends. Approaches include theatrical narrative structures that might tell a story, spatial or landscape meditations that might resemble a sound installation, and ritual events such as a Passover Seder or a wedding ceremony.

The Second Performance and Beyond

How a piece goes from a perhaps uneventful premiere to even somewhat standard repertoire is the new music million dollar question. But one thing seems certain: There has to be a second performance.

Shape Notes, Billings, and American Modernisms

From Charles Seeger to his contemporaries William Schuman and Henry Cowell in the 1940s, through John Cage and William Duckworth in the 1970s and 1980s, to young composers like David T. Little and Gabriel Kahane today, the American shape-note tradition has been a steady source for reexamination and inspiration.

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