The parallel developments of minimalism and metal during the past 20 years offer some heady crosstalk.
Composers are writing less and less, being fussy, appearing to be artistic cowards. But are they? Haven’t we created an environment where Mozart is cheap and Birtwistle is expensive?
Nearly two years ago, two of music’s most prominent publishing houses each issued four-volume anthologies of American arias a month apart from each other; how is it that two major music publishers arrived at the same concept at more or less the same time?
What is the defining moment in a “successful” composer’s life that could be called a “tipping point”?
Computer music is nothing new, though it has certainly blossomed in the past decade thanks to the rapid spread of personal computing. The question is: What’s “laptop music”?
What’s in a title? A piece by any other name would sound the same.
Everything you ever wanted to know about the simantron, a percussion instrument from Eastern Europe that is slowly finding its way into new music.
What makes Kyle Gann’s Music Downtown so significant is that Gann did not just fortuitously witness an unfolding; he lived it, not as an impartial observer, but as a steeped, way-down-in-the-thick-of-it composer.
Enter the artsongwriters! They are merging the benefits of their classical training with the tools and frameworks of pop music. But don’t mistake what they’re doing as “breaking down barriers between genres”—these composers are developing a new and unique style of creative songwriting that does not fit comfortably into any pre-existing genre.
It is generally thought that, except for a few pieces with specifically notated quartertones, the remainder of Ives’s music was conceived for conventional twelve-tone equal temperament. However, there’s a great deal of evidence in Ives’s scores and writings suggesting a general tuning for his music that can best be described as Extended Pythagorean.