Katherine M. ShaoPhoto by Susan Scott, courtesy of American Baroque American Baroque’s adventures in new music began close to home. Our viola da gamba player, Roy Whelden, is a fine composer, and we were lucky to count a couple of other composers among our friends. After that, we had to start looking a bit further […]
Martin BresnickPhoto courtesy ASCAP Concert music today is influenced by such a wide and powerful range of sources – audio technology, computers and the Internet, popular, folk and world music, conceptual art, film and theatre, among others – that it is impossible to isolate a single dominant style. Despite, or perhaps because of that pluralism […]
Bradley BambargerPhoto by Melissa Richard There is no doubt that American composers have come a long way since Dvorák admonished them to stop mimicking Europe and come up with a distinctly native form of expression. Yet determining just who are the most popularly successful (i.e., the most frequently performed) American composers on their home soil […]
Despite our relatively short history as a nation, the United States boasts an artistic landscape that is arguable the most culturally diverse in the world.
Maybe wherever you are—listening, composing, performing, writing and talking about it—is the center of American music.
Martin Bresnick, David Gompper, P.Q. Phan, and Marilyn Shrude respond.
David Gompper When you ask about the dominant musical style of today, I think it depends upon whom you ask. My music students might name the latest pop group, probably a mixture of rap and rave but never the corporate-owned boy-bands. If I narrowed the question and steered it toward contemporary art music, they might […]
Marilyn Shrude Today’s concert music seems to be a blending of the many modes of expression we find around us-the term often used is “eclectic.” Because we have ready access to new works, we are able to digest them quickly and assimilate elements into our own compositions (both consciously and unconsciously). I don’t think there […]
The best way to introduce my music to listeners is ideally in a concert hall, well rehearsed, well performed and to a discriminating audience. Of course this ideal situation seldom happens nowadays when orchestras have budgets (and egomaniac conductors) allowing almost no rehearsal time for a new work. They consider it more necessary to use […]
In centuries past, the ONLY way one could become familiar with a composer’s music was to hear it at a live concert. Today, of course, we not only have live concerts but recordings, radio (to an extent), scores, the internet and heaven knows what else. The key question, of course, is which approach is best […]