The inevitable music ecosystem and a great investment opportunity.
On-hold music is a strange Janus-faced beast. Neither background nor foreground, this forced-listening netherworld sounds like a perfect spot for art to intervene.
A composer takes a step away from his own work to examine how the act of creation fits into the life of an individual and its impact on the surrounding artistic, cultural, and economic environment.
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.