Feldman exploits the inherently paradoxical possibilities of visually distinct notations that sound ‘the same’, suggesting that they might imply shadings of difference in the sound.
How does the ear decode the acoustic information that we receive, and what can we learn about music from an understanding of how the ear and the brain respond to sound?
A primer on playing old instruments in new ways.
Richard Taruskin’s six-volume Oxford History of Western Music in perspective.
Performers like the Klezmatics, David Krakauer, Hasidic New Wave, and John Zorn are all rockin’ the shtetl. As it turns out, that just happens to be the utterly traditional thing to do.
A number of prominent composers are either writing or awaiting premieres of new band works.
The value of bootlegs, copies, forgeries, tributes, covers, pastiches, variations, quotations, samples, rip-offs, hijacks, plagiarisms, and recontextualizations collide and crisscross in a potholed web that means many things to many people.
A closer look at how the awards for young composers are adjudicated.
Composition for a paycheck when art meets the demands of the marketplace.
Everybody had nametags at the National Performing Arts Convention in Pittsburgh last month. But with the exception of the composers, you had to get up close to read what world they came from—symphony, opera, chorus, or dance.