There still exist archetypal “American Composers” and “European Composers,” an archetypal “American Audience” and “European Audience,” with roots in decades-old artistic movements, historical contexts, and sets of priorities. However effectively pluralism may be taking over the world, these old national differences are still with us in fundamental ways.
Robert Ashley has been composing new kinds of opera exploring a vast range of techniques for over forty years, but the process of developing each Ashley opera is different.
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.