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.
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.
A closer look at how the awards for young composers are adjudicated.